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HI' 


specimen  Book  oj  Linotype  Faces 


Digitized  by  the  Internet  Archive 
in  2011 


http://www.archive.org/details/specimenbooklinoOOmerg 


specimen  Book 

LINOTYPE 
FACES 


MERGENTHALER  LINOTYPE  COMPANY 

Brooklyn,  New  York 


PRINTED    IN    THE    UNITED    STATES    OF    AMERICA 


Linotype  Typography 


THIS  BOOK  reflects  the  typographic  resources  of  Linotype  for  print- 
ers and  pubhshers  throughout  the  world.  Through  its  pages  will 
be  found  a  type  face  for  every  printing  purpose  — books,  news- 
papers, periodicals,  the  wide  fields  of  advertising  composition  and  com- 
mercial printing,  as  well  as  the  important  spheres  of  foreign  language 
and  more  specialized  work. 

There  are  display  and  text  faces  in  abundance  among  the  325  different 
designs  in  well  over  1500  point  sizes  shown;  a  range  of  size  from  4-  to  144- 
point  — and  a  range  in  design  to  meet  the  most  critical  standards  for  every 
phase  and  requirement  of  contemporary  printing. 

In  addition,  there  is  shown  a  considerable  number  of  special  characters, 
as  well  as  a  comprehensive  display  of  Linotype  figures,  fractions,  accents 
and  similarly-needed  material  for  reference  and  occasional  purposes. 

Constant  additions  to  Linotype's  extensive  resources  are  inevitable. 
While  every  effort  has  been  made  to  have  this  volume  as  complete  and 
comprehensive  as  possible,  even  before  its  distribution  new  developments 
were  in  process.  And  so  will  they  continue  to  be,  since  the  Linotype  organ- 
ization is  dedicated  and  determined  to  serve  publishers  and  printers  the 
world  over. 

Consultation  on  any  suggestion  or  problem  concerning  matrices  or 
composing  machine  practice  is  welcomed.  It  will  be  a  pleasure  to  see  you 
at  headquarters  or  at  any  of  our  agencies. 

mer(;enthaler  linotype  company 


Contents 

iSee  pa(^es  XXV  to  XXXIX  or  1201- \  215  for  detailed  indexes'] 

TYPE  FACES  {see  Alphabetical  Index) 

Aildcncia 116i 

Duplex-Display  Matrices      .  .  .  .  .1145 

Figures     ........     905 

GENERAL   INFORMATION,   FIGURES     ....  XIII 

Fractions ........     957 

Leaders 901 

GENERAL   INFORMATION,  LEADERS  ....       XIII 

Phonetics 8«3 

Ruled  Forms  and  Tabular  Work  .  .  .  .893 

Universal  Special  Characters  ....  887 

DECORATIVE  MATERIAL 1081 

GENERAL  INFORMATION xi 

All-Purpose  Linotype      ......  xxi 

A-P-L  Matrix  Font  Schemes             ....  xxiii 

Font  Schemes 1189 

Keyboard  Diagrams .             .....  1177 

Key  to  Matrix  Terms       .             .             .             .             .             .  xv 

Matrix  Bridges           ......  xiv 

Matrix  Tooth  Combinations        .....  xvi 

TOOTH  COMBINATION  CHARTS  ....  XVIII 

Point  System        .             .             .             .             •  .  .      xii 

INDEXES XXV,  1201 


VII 


General  offices  and  works  of  Mergenthaler  Linotype  Company.  In  these 
fine,  big  buildings  the  newest  and  the  best  of  manufacturing  methods 


■^^F 


expedite  the  rendering  of  Linotype  service.  Located  in  Brooklyn,  New 
York,  atRyerson  Street,  Park  Avenue,  Hall  Street  and  Flushing  Avenue, 


General  Information 


THE  Mercenthaler  Linotype  Company  carries 
in  stock  a  full  supply  oi  matrices  to  meet  the 
exactint;  demands  ol  jirinters  throughout  the 
world.  Matrices  can  be  supplied  lor  composition  in 
over  seventy  diflc-rent  languages.  With  the  great 
number  of  different  characters  to  be  supplied,  the 
importance  ot  giving  careful  attention  to  accuracy  ot 
detail  in  preparing  orders  will  be  appreciated. 

Every  possible  facility  is  provided  for  the  proper 
selection  and  ordering  of  matrices  according  to  the 
style  of  face  and  the  characters  desired.  Orders  should 
be  typewritten,  preferably,  and  the  name  of  the  face 
given.  One  copy  should  be  retained  for  reference. 

Shipping  Instructions 

Specify  whether  matrices  are  to  be  shipped  by  freight, 
express,  parcel  post  or  air  mail.  Goods  sent  by  parcel 
post,  valued  at  $1.00  or  more,  will  be  insured  at  our 
expense.  Special  and  careful  attention  is  given  to  the 
inspection,  packing  and  shipping  of  all  matrices. 

Matrices  furnished  in  accordance  with  written  or- 
ders are  not  returnable  for  credit.  If  for  any  reason  it 
is  necessary  to  return  goods,  they  should  be  insured  if 
sent  by  parcel  post. 

Matrix  Order  Forms 

Linotype  matrix  order  forms  are  supplied  in  any 
quantity,  free  upon  rec]uest.  They  should  always  be 
used  in  ordering  matrices.  This  enables  us  to  fill  or- 
ders correctly  and  promptly. 

Order  forms  can  be  supplied  f(jr  regular  characters, 
accents,  fractions,  logotypes,  special  characters,  bor- 
der matrices  and  matrix  slides,  as  well  as  for  all  for- 
eign characters.  Always  use  the  correct  type  of  order 
form.  Use  one  sheet  for  each  face  and  point  size  there- 
of. Send  all  orders  to  the  Linotype  Agency  in  whose 
territory  you  are  located. 

It  is  important  to  know  the  Linotype  model  for 
which  the  matrices  are  intended,  as  well  as  particular 
style  of  magazine  used.  This  is  necessary  because  \ari- 
ous  models  differ  in  so  far  as  milling  of  matrix  lugs 
and  magazine  arrangements  are  concerned. 

Full  Name  oj  Face 

The  full  name  of  the  f;ice  should  always  be  entereil  at 
the  top  of  each  ortler,  thus: 

10  point  Excelsior  with  Italic  and  Small  C'ajis;  or 
10  point  Excelsior  with  Bold  Face  No.  2;  or 
10  point  Excelsior  with  Memphis  I'old 

We  frec]uently  receive  orders  merely  calling  for    10 


point  Excelsior.  As  shown  above,  this  f;ice  is  made  in 
\arious  combinations,  and  in  such  cases  it  is  impos- 
sible to  fill  the  order  correctly  without  requesting  fur- 
ihcr  inlonnalioii. 

Fractions 

In  ordering  tractions,  always  state  whether  they  arc  to 
run  in  the  regular  channels  of  the  magazine  or  as 
sorts.  Unless  otherwise  specified,  they  will  be  fur- 
nishetl  as  sorts. 

Also  mention  whether  fractions  are  required  on  an 
cm  or  en  body.  Unless  otherwise  ordered,  they  will  be 
furnished  on  an  cm  hotly. 

Superior  and  Inferior  Characters 

When  these  characters  are  ordered,  a  sample  charac- 
ter should  accom})any  the  order.  This  will  enable  us 
to  Hll  the  ortler  accurately.  If  a  sample  character  is  not 
submitted,  matrices  accortling  to  our  universal  classi- 
fication will  be  furnished. 

Hair  Spaces 

These  are  thin  spaces,  without  combination  teeth,  for 
close  hand-spacing  in  short  measures  or  making  odd 
justifications.  They  are  placed  in  the  assembling  ele- 
vator by  hand,  f.illing  into  the  quad  box  when  the  line 
ot  matrices  is  transferred  to  the  second  elevator  bar. 

Hair  spaces  are  made  in  thicknesses  of  .0035", 
.007",  .008",  .010",  .012",  .014",  .015",  .016",  .018", 
.020", .021  "and  .022".They  are  not  included  in  stand- 
artl  font  schemes  and  must  be  ordered  separately. 

Special  Characters 

A  large  variety  of  special  characters,  which  can  be 
furnished  from  stock,  are  shown  in  a  separate  section 
of  this  book.  In  ordering,  be  sure  to  specify  quantity 
otinatrices  wanted,  character  number,  point  size  and 
classification  number.  Also  specify  whether  they  are 
to  run  in  magazine  or  as  sorts. 

If  special  characters  not  listed  are  recjuired,  a  sketch 
or  (printed  specimen  should  be  included  with  the  re- 
quest for  a  quotation. 

A  special  Matrix  Order  lilank  for  S{)ecial  Charac- 
ters (Form  818)  will  be  sent  upon  request.  This  form 
may  be  used  for  all  special  characters  except  .\ccented 
C-haracters  (Form  821)  and  Superior  and  Inferior 
Characters  (Regular  l'"orni  819). 

Display  Matrices 

Disjilay  matrices,  U)  to  60  point,  can  be  used  on  any 
Linotype  and  set  from  the  keyboard,  provided  the 


XI 


style  of  machine  in  use  will  accommodate  such  mat- 
rices. These  matrices  can  also  be  furnished  is  sorts. 

Linotypes  equipped  with  the  Universal  Knife 
Block  and  with  the  proper  magazine  and  mold  equip- 
ment will  accommodate  and  cast  Display  Matrices  up 
to  and  including  42  point.  To  cast  48,  54  and  60  point 
faces,  a  special  45  point  attachment  is  necessary. 

All  specimens  of  Display  Faces  carry  matrix  infor- 
mation indicating  the  magazine  in  which  the  face 
can  be  run.  Be  sure  to  consult  this  information  before 
ordering.  Also  give  the  keyboard  layout  to  be  used. 

Font  Schemes 

The  standard  font  schemes  and  keyboard  layouts  arc 
shown  in  a  separate  section.  The  font  schemes  show 
the  quantity  of  matrices  supplied  for  each  character, 
and  the  keyboard  layout  the  magazine  channel  in 
which  each  character  runs. 

It  is  suggested  that  the  standard  keyboard  layouts 
be  adhered  to  as  far  as  possible.  These  have  been  care- 
fully arranged  in  accordance  with  approved  stand- 
ards of  practice.  Special  (non-standard)  keyboard  lay- 
outs often  prove  impractical,  and  inconvenient  in 
operation.  Matrices  cut  for  special  layouts  cannot  be 
returned  for  credit  and  sorts  orders  for  such  matrices 
may  be  subject  to  delay. 

Accented  Characters 

The  standard  accents  shown  on  pages  892  and  892a 
are  available  in  a  large  variety  of  faces  and  are  usually 
supplied  at  the  regular  sorts  price.  Characters  not 
shown  can  be  made  to  order  at  a  special  price  which 
will  be  quoted  on  request. 

There  are  two  styles  of  cap  accents,  low  cap  accents 
and  high  cap  accents.  It  is  the  usual  practice  to  supply 
the  low  cap  style  to  avoid  the  use  of  a  special  mold. 
The  character  is  slightly  reduced  in  height  to  make 
room  for  the  diacritical  mark  so  that  the  character 
with  its  accent  will  fit  in  the  same  space  occupied  by 
the  normal  unaccented  cap  character. 

When  low  cap  accents  are  considered  undesirable, 


high  cap  accents  are  recommended.  The  extra  space 
required  by  this  style  of  accent  on  a  cap  character  of 
full  height  makes  it  necessary  to  change  the  aligning 
point  of  the  mold  so  that  the  accent  will  cast  flush  on 
the  smooth  edge  of  the  slug  without  trimming  off. 
This  makes  it  necessary  to  cast  a  given  size  on  a  body 
two  points  larger  than  standard  up  to  14  point  and 
approximately  4  points  larger  than  standard  on  dis- 
play faces.  The  high  cap  accent  mold  can  be  used 
on  regular  composition  with  or  without  accents  and 
the  extra  space  above  mentioned  will  appear  on  the 
smooth  edge  instead  of  the  ribbed  edge  of  the  slug. 

High  cap  accents  cannot  be  cast  in  display  faces 
larger  than  32  point,  as  full  36  point  body  is  required 
for  the  cap  character  and  its  accent.  Where  caps  only 
are  used,  high  cap  accents  can  be  cast  in  display  faces 
up  to  36  point. 

Triangle  Numbers 

The  system  of  marking  matrices  is  shown  in  the  illus- 
trations on  page  xvi.  The  matrix  triangle  is  the'  iden- 
tification mark  of  the  Mergenthaler  Linotype  Com- 
pany. When  uncertain  of  the  correct  name  of  face, 
matrices  may  be  ordered  according  to  the  numerical 
marking  on  the  side.  The  triangle  number  should  al- 
ways be  entered  on  the  matrix  order  form.  Always 
copy  the  marking  exactly,  as,  for  instance,  10 A  386. 
Do  not  choose  a  matrix  at  random  or  take  one  from  a 
pi  tray  to  obtain  the  triangle  marking.  Select  a  lower 
case  n  from  the  font  for  which  matrices  are  wanted; 
if  figures  are  ordered,  select  a  figure  5. 

Multiple  Distributor  Linotypes 

Matrices  for  Multiple  Distributor  Linotypes  require 
one  or  more  bridge  notches  to  permit  separation  of 
the  matrices  in  the  distributor. 

In  ordering  matrices  for  these  machines,  be  sure  to 
specify,  in  addition  to  notch  number,  the  serial  num- 
ber and  model  of  machine,  the  magazine  in  which 
matrices  are  to  run,  and  magazine  location.  If  in 
doubt  as  to  the  notch  number,  send  a  sample  matrix, 
with  notch  desired,  with  your  order. 


POINT  SYSTEM 


Prior  to  about  1886,  each  typefounder  was  a  law  unto 
himself  in  the  matter  of  type  standards.  Brevier,  for 
example,  made  by  one  foundry  would  not  justify  with 
brevier  from  another  foundry.  The  pica  "em"  in  use 
up  to  that  time  had  been  obtained  by  dividing  an  inch 
into  six  parts,  equaling,  decimally,  .166%".  When  the 
present  point  system  of  the  American  Type  Founders' 
Association  was  decided  upon  in  1886,  the  fraction 
was  eliminated  and  a  standard  "pica"  em  adopted, 


measuring  .166".  This  standard  of  measurement  is 
used  by  the  Mergenthaler  Linotype  Company,  and 
one-twelfth  of  the  pica,  .166,  equals  one  point,  .01383. 
One-quarter  of  a  point  is  the  unit  used  in  the  manu- 
facture of  our  matrices  on  the  point-set  system. 

Didot  System.— The  Didot  point  measures  .01483  of 
an  inch.  The  Didot  unit  is  the  cicero,  which  equals 
12  corps,  or  .178  of  an  inch.  The  American  (Lino- 


XII 


type)  unit  is  the  pica  em,  measuring  12  point,  or  .166 
of  an  inch.  The  Didot  system  ot  measurement  is  used 
in  France  and  most  countries  ot  continental  Europe, 
and  is  commonly  known  as  the  French  system. 


Mediaan  System.— The  Mediaan  point  measures 
.01374  ot  an  mch,  and  the  .Mediaan  em  or  cicero  .1649 
of  an  inch.  This  point  system  is  used  in  Belgium. 
Mediaan  height  to  paper  is  .934. 


Excelsior 3 

Brilliant 4 

Diamond 41/2 


NAMES  AND   POINT  SIZKS   Ol    TYPE 

Pearl 5  Minion 7 

Agate 5V2       Brevier 8 

Nonpareil 6  Bourgeois 9 


POINT 
1. 

2. 
3 

4, 

41/2 

5 

51/2 

6. 


SIZE 

.01383 

.0277 

,0415 

.0553 

,0622 

,0692 

.0761 

,083 


Long  Primer  .      10 

Small  Pica 11 

Pica 12 

English 14 


poinT 
7, 
8 
9 

10 

11 

12 

13 

14. 


DECIMAL  MEASUREMENTS  FROM  I  TO  72   POINT 

SIZE 

.0968 
.1107 


.1245 

.1383 

.1522 

.166 

.1798 

.1937 


POINT 

15, 

16 

18 

20 

22 

24 

26 

28 


SIZE 

.2075 

.2214 

.249 

.2766 

.3044 

.332 

,3596 

.3874 


F'OirjT 

30 
32 
34 
36 


SIZE 

.415 

.4428 

.4703 

.498 


/■ 

POIHT 

40 
42 
48 
54 


S:ZE 

POINT 

SIZE 

5532 

60.     , 

.    .830 

581 

66      . 

.913 

664 

72 

.996 

747 

THICKNESS  OF  LEADS  AND   SLUGS 

12  to  Pica    .01383        8  to  Pica  .0207        4  to  Pica  .0415 
10  to  Pica    .0166  6  to  Pica  .0277        2  to  Pica  .083 


FIGURES 


The  largest  figure  which  will  run  in  regular  figure 
channel  ot  the  standard  90-channel  magazine  is  .1 107, 
or  eight  points,  wide;  in  the  72-channel  magazine, 
.2075,  or  15  points;  in  the  wide  72-channel  magazine, 
.249,  or  18  points;  in  the  28-channel  auxiliary  maga- 
zine, .218;  in  the  34-channel  auxiliary  magazine,  .249 
in  left  side  and  .221  in  right  side;  in  the  wide  34-chan- 
nel auxiliary  magazine,  .315  in  left  side  and  .311  m 
right  side.  The  largest  figure  that  will  run  in  a  90- 
channel  magazine  according  to  the  Advertising  Fig- 
ure Layout  is  .166,  or  12  points  wide.  Size  ot  figures 
in  all  faces  is  indicated  in  matrix  data  on  all  specimen 
sheets. 

It  is  important  to  note  the  design  ot  the  two  styles 
ot  figures  available  with  old  styles  faces:  old  style  and 
modernized.  When  ordering  matrices  ot  old  style 
faces  specify  whether  old  style  or  modernized  figures 
are  desired. 


OLD  STYLE   FIGURES 


1234567890 

Old  style  figures  have  ascenders  and  descenders,  and 
have  the  modeled  serifs  and  tapering  thick  and  thin 
strokes  characteristic  ot  old  style  type  flices. 

MODERNIZED  FIGURES 

1234567890 
Modernized  figures  are  old  style  figures  brought  to  a 
common  alignment,  with  the  shapes  of  the  1,  2  and  0 
changed  accordingly. 

MODERN  FIGURES 

12  3  4567890 
Modern  figures  have  a  common  alignment,  that  is, 
all  are  ot  the  same  height,  and  have  the  characteristics 
ot  modern  type  faces  — square  serifs,  contrasting  thick 
and  thin  strokes,  and,  usually,  larger  body  per  point 
size.  They  are  not  used  with  old  style  fiices. 


LEADERS 


Leaders  of  various  styles  have  been  designed  to  meet 
the  major  requirements  ot  the  trade. 

Regular  Leaders.  — Regular  leaders  match  the  weight 
ot  face  with  which  they  are  used  and  cast  type  high. 
Furnished  in  round  dot  or  hyphen  style  in  two,  four 
or  six  dots  or  strokes  to  the  em. 

Universal  Leaders.— Universal  leaders  are  tor  book 
and  jobbing  work.  The  weight  ot  the  dot  or  stroke  is 
uniform  in  all  point  sizes  regardless  ot  the  style  ot  the 
face  with  which  they  are  used.  These  leaders  are  .00^ 
shallower  than  type  high,  so  they  will  not  punch 
through  the  paper  in  printing.  Universal  rouiul  dot 
leaders  are  furnished  two,  four  and  six  dots  to  the  em. 


Universal  hyphen  leaders  are  furnished  in  two  and 
tour  strokes  to  the  em. 

Thin  Leaders.— Thin  leaders  are  used  with  either  of 
the  above  styles  for  close  justification  when  only  one 
spaceband  is  used  in  the  line.  Available  in  quarter-em 
width  in  round  dot  or  hyphen  style,  8,  10,  12  and  14 
point  sizes. 

Newspaper  Leaders.— The  regular  round  dot  or 
hyphen  leader  .00"^  shallower  than  type  high  to  mini- 
mize punching  through  the  pa[)er.  Furnished  in  two, 
four  or  six  dots  or  strokes  to  the  em. 

Newspaper  Radial  Leaders.— Round  dot  stvle  only, 
and  are  made  with  a  rounded  or  radial  printing  sur- 


XIII 


face  to  prevent  perforating  paper  and  damaging  press 
blankets;  .005  shallower  than  type  high.  Furnished  in 
two  dots  to  the  em. 

Leader-Aligning  Dashes.— Cast  a  continuous  un- 
broken line.  Useful  for  jobbing  work.  Supplied  in  all 
standard  alignments  in  uniform  set-widths  of  2,  3,  6 


and  12  points.  Also  available  in  en  and  em  widths  as 
substitutes  for  regular  dot  or  hyphen  leaders. 

Jobbing  Leaders.— Made  in  6,  8,  10,  12  and  14  point 
alignments,  two  and  four  strokes,  and  on  6  and  12 
point  set-width  only.  The  weight  of  the  stroke  and  the 
set-width  of  the  character  is  uniform  in  all  point  sizes. 


MATRIX  BRIDGES 

For  Models  25  andlG 


The  standard  bridge-cutting  of  matrices  for  the  above 
types  of  machines,  unless  otherwise  specifically  or- 
dered, consists  of  three  notches,  comprising  any  be- 
tween Nos.  2  and  7  inclusive,  with  the  exception  of 
the  one  carrying  notches  5-6-7,  which  is  not  desirable. 
This  cutting  refers  to  the  upper  magazine  only.  Mat- 
rices for  the  lower  main  and  auxiliary  magazine  will 
be  unnotched  unless  otherwise  ordered.  Matrices  for 
the  upper  auxiliary  magazine  will  be  cut  with  notches 
2  to  7,  inclusive,  in  order  to  drop  on  any  bridge  in  use. 
A  matrix  with  a  combination  which  does  not  corre- 
spond with  the  bridge  projections  in  use  (also  an  un- 
notched matrix)  rides  across  the  bridge,  to  the  upper 
distributor  screws  and  into  the  lower  magazine.  The 
possible  bridge  combinations  are  listed  below: 


POINT  SIZE 
OF  MATRIX 

BRIDGE 
NO. 

BRIDGE 
NOTCHES 

POINT  SIZE 
OF  MATRIX 

BRIDGE 
NO- 

BRIDGE 
NOTCHES 

6,  63/4,  7, 

352 

2-3-6 

4, 

6 1/2 

71/2 

354 

2-3-7 

IOV2,  IIV2, 

353 

3-4-6 

8, 

10, 

13, 

355 

2-4-7 

12,  14,  21, 

357 

3-6-7 

16 

,  20 

27, 

356 

3-4-7 

24,  28, 

359 

2-6-7 

30 

,  32 

60 

357 

3-6-7 

42,48 

360 

4-6-7 

358 

2-5-7 

364 

3-5-6 

359 

2-6-7 

365 

4-5-6 

360 

4-6-7 

366 

2-5-6 

361 

.  3-5-7 

368 

2-4-6 

369 

4-5-7 

POINT  SIZE 

BRIDGE 

BRIDGE 

POINT  SIZE 

BRIDGE 

BRIDGE 

OF  MATRIX 

NO. 

NOTCHES 

OF  MATRIX 

NO. 

NOTCHES 

51/2,  9,  18, 

351 

2-3-5 

51/2,  9,  18, 

366 

2-5-6 

36,  54 

358 

2-5-7 

36,  54 

369 

4-5-7 

361 

3-5-7 

370 

3-4-5 

363 

2-4-5 

364 

3-5-6 

365 

4-5-6 

5,  11,22,34 

362 

*2-3-4 

*ln  addition  to  bridge  No.  362,  any  of  the  bridges  specified  for 
the  various  point  sizes  can  be  used,  except  those  having  a  No.  7 
notch. 


Note:  Every  combination  selected  must  include 
bridge  notch  corresponding  to  respective  font  slot  of 
matrices,  as  indicated  below: 

CORRESPONDING 
FONT  SLOT  BRIDGE  NOTCH 

51/2,  9,  18,  36,  54  Point 5 

6,  63/4,  7,  IOV2,  IIV2,  12,  14, 

21,  24,  28,  42,  48  Point 6 

4,  61/2,  71/2,  8,  10,  13,  16, 

20,  27,  30,  32,  60  Point 7 

5,  11,  22,  34  Point 8 


For  Models  29  and  30 


The  separation  of  matrices  in  the  four-magazine 
mixer  Models  29  and  30  is  controlled  by  a  single 
bridge  projection  which  is  positioned  by  an  indicator 
dial.  Since  only  two  adjacent  magazines  can  be  in  op- 
erating position  at  one  time,  it  is  merely  necessary  to 
position  the  single  bridge  projection  to  correspond  to 
a  notch  in  the  matrices  in  the  upper  position,  which 
notch  does  not  appear  in  the  matrices  in  the  lower  po- 
sition. The  matrices  from  the  upper  magazine  will 
then  drop  on  the  bridge  and  pass  to  the  upper  maga- 
zine while  the  matrices  from  the  lower  magazine  will 
ride  across  the  bridge  and  pass  to  the  lower  magazine. 

The  location  and  size  of  the  bridge  notches  for  mat- 
rices to  run  in  these  models,  is  the  same  as  for  those 
used  on  Models  25  and  26.  Only  one  notch  is  used  for 
separation  and  therefore  matrices  for  Models  29  and 
30  usually  have  only  one  notch.  Other  notches  may  be 
added  to  provide  a  variety  of  mixing  possibilities. 

The  font  slot  of  matrices  used  in  regular  single  dis- 
tributor machines  can  also  be  used  to  separate  mat- 


rices in  these  machines,  by  making  use  of  a  different 
portion  of  the  indicator  dial. 

To  use  Model  9  matrices  in  these  machines  it  is  nec- 
essary to  replace  the  indicator  dial  by  one  designed 
for  use  with  Model  9  matrices. 

In  order  to  identify  the  bridge  notches  and  font 
slots  cut  in  the  bottom  of  matrices,  full  size  reproduc- 
tions of  matrices  are  shown.  These  reproductions  can 
be  used  as  templates  to  determine  the  number  of  the 
notches  or  slots  as  an  aid  in  positioning  the  single 
bridge  projection. 

The  font  slot  numbers  for  various  point  sizes  of 
single  distributor  matrices  are  as  follows: 


FONT   SLOT   NUMBER 


POINT  SIZES 


1 5,  11,  22,  34 

2 61/2,  10,  13,  20,  26,  30,  60 

3 4,  71/2,  73/4,  8,  16,  27,  32 

4  .     . 43/4,  63/4,  7,  111/2,  14,  21,  28,  42 

5 6,  101/2,  12,  24,  48 

6 51/2,  9,  18,  36,  54 


XIV 


BRIDGE  NOTCHES 

Models  25,  26,  29  and  30 


W 


ZJ 


ra 


n  In  n  n  hP      QJ^UTLTLrLD 
7   5    3    1  8    6   4    2 


BRIDGE  NOTCHES 

Model  9 


nKD    QJjA—vsilJ 


8  6     4  2 


FONT  SLOT 

Single  distributor  machine 


dJ 


V 


mn_ 


'D 


/  \"\ 

1     3      5 


V 


/  \  \ 

2      4     6 


For  Model  9 


Matrices  on  the  Model  9  are  separated  in  the  primary 
distributor  for  the  various  magazines  by  means  of 
small  bridges  having  different  combinations  of  pro- 
jections. 

All  matrices  used  in  the  Model  9  must  have  the  bev- 
eled notch,  in  addition  to  the  bridge  notches  for  sep- 
ating  fonts  for  the  various  magazines. 

The  various  bridtic  combinations  are  listed  below: 


BRIDGE 

OLD 

NEW 

NOTCHES 

1 

1-2-8 

2 

1-2-3 

3 

103 

2-5-8 

4 

1-2-5 

5 

1-2-6 

6 

1-3-6 

7 

1-4-6 

8 

108 

2-3-6 

9 

1-3-4 

11 
12 

1-2-7 
1-3-7 

OLD 

13 
14 
15 
16 
17 
18 
19 
20 
21 
22 
23 


114 


117 

119 
120 
121 


1-4-7 
2-3-7 
-3-8 
-4-8 
-3-8 
-2-4 
-4-5 
-5-8 
-5-8 
-3-5 
-4-5 


OLD 

24 
25 
26 
27 
28 
29 
30 
31 
32 
33 
34 

N(r 


102 
126 
111 
109 
124 
112 
118 
107 

101 
Every 


NOTCHES 

1-5-8 
2-3-5 
2-4-6 
2-4-7 
3-4-8 
2-4-5 
3-4-7 
2-4-8 
3-4-6 
1-7-8 
2-7-8 


OLD 

NEW 

MOTCHES 

35 

115 

3-7-8 

36 

116 

4-7-8 

37 

1-6-7 

39 

105 

2-6-7 

40 

106 

3-6-7 

41 

113 

4-6-7 

42 

127 

6-7-8 

104 

2-5-6 

122 

3-5-6 

123 

4-5-6 

125 

5-6-7 

bridge  notch  corresponding 
matrices,  as  indicated  below: 

FONT    SLOT 

5,  11,  22,  34  Point    .... 

6,  63/4,  7,  101/2,  IIV2,  12, 
14,  21,  24,  28,  42,  48  Point 
4,  71/2,  8,  16,  27,  32  Point 
6V2,  10,  13,  20,  30,  60  Point 
51/2,  9,  18,  36,  54  Point     .     , 


combination    selected    must    include 
to  respective  font  slot  of 


CORRESPONDING 
BRIDGE   NOTCH 

.     .    8 


5 

6 

7 
Font  Slot  cut  out  by  bevel 


KEY  TO  MATRIX  TERMS 


The  definitions  which  follow,  ant!  the  diagrams  on 
page  XVI,  will  enable  the  reader  to  better  comprehend 
the  terms  and  functions  of  various  parts  of  the  matrix. 

1.  Teeth.— Projections  on  the  inside  of  the  triangular 
opemng  at  the  top  of  the  matrix.  There  are  seven  of 
these  teeth  on  either  side.  The  teeth  which  are  left  in 
are  called  the  tooth  combination.  As  the  matrix  is  car- 
ried along  the  distributor  bar,  it  is  supported  by  corre- 
sponding teeth  on  the  bar.  At  a  j)redetermincd  point, 
the  teeth  on  the  bar  are  cut  away.  The  matrix,  being 
no  longer  supjiorted,  drops  through  the  channel  en- 
trance and  into  its  proper  place  in  the  magazine.  A 
matrix  with  all  the  teeth  is  called  a  "pi"  matrix,  and 
passes  all  the  combinations  on  the  distributor  bar,  fall- 
ing down  the  pi  chute  to  the  pi  stacker. 


2.  Bar  Point  Slot.— This  is  a  slot  projecting  down- 
waril  towarti  the  bottom  oi  the  matrix.  The  object  is 
to  make  all  matrices  of  the  same  thickness  at  this  one 
jioint.  The  slot  registers  with  the  projecting  blade  on 
the  distributor  box  bar  to  prevent  the  lifting  of  two 
matrices  at  one  time  into  the  distributing  screws. 

3.  Regular  Position.— 'Ihis  denotes  the  character  in 
the  regular  or  normal  (sometimes  relerred  to  as  the 
"ronKin")  position  ol  a  two-letter  matrix.  Matrices 
from  4  to  24  point,  and  some  -^O  |K)int,  can  be  supplied 
with  two  characters.  Abo\e  30  point  only  one  charac- 
ter can  be  useil. 

4.  Auxiliary  Position.— This  ilenotes  the  character  in 
the  .luxiliary  or  raised  (sometimes  relerred  to  as  the 
■"boldiace")  position.  Characters  on  one-letter  display 


XV 


matrices  16  to  60  point  are  also  in  the  auxiliary  posi- 


tion. 


5.  Lugs.— These  are  sometimes  called  "ears!'  They 
are  made  to  a  certain  thickness  according  to  the  mag- 
azine channel  in  which  the  matrix  is  to  run.  The  lugs 
are  the  guiding  points  of  the  matrix  throughout  its 
travel.  The  lower  lug  (on  the  character  side)  deter- 
mines the  horizontal  alignment  of  the  character  in 
the  matrix,  for  this  lug  banks  against  the  alignuig 
groove  in  the  mold  body. 


TWO-LETTER 


6.  Font  Slot.— This  is  a  small  slot  in  the  bottom  of  the 
matrix  ior  use  on  single  distributor  machines.  In  con- 
junction with  the  automatic  font  distinguisher,  it  pre- 
vents wrong  fonts  froin  entering  the  magazine. 


7.  Bridge  Notch.— A  slightly  larger  opening  than  the 
tunt  slot.  It  is  used  in  conjunction  with  the  matrix 
bridge  on  multiple  distributor  Linotypes  to  permit 
the  matrix  to  distribute  to  its  proper  magazine. 

8.  Bevel  Notch.— A  notch  cut  in  matrices  for  Models 
such  as  9,  16  and  17,  used  to  prevent  two  matrices  be- 
ing lifted  at  one  time  into  distributor  screws. 

9.  Clearance  Cut.— This  is  a  small  bevel  cut  on  the 
lower  lug  of  the  casting  edge  of  the  matrix,  designed 
to  protect  the  side  wall  area  of  matrices  as  they  are 
assembled. 

10.  Triangle  Number.— The  matrix  triangle  is  the 
identification  mark  ot  the  Mergenthaler  Linotype 
Company.  The  number  before  the  triangle  indicates 
the  point  size  of  the  face.  The  number  after  the  tri- 
angle indicates  the  name  of  the  face.  This  complete 
reference  marking  should  always  be  given  when  or- 
dering matrices. 

11.  Reference  Marking.— These  are  characters 
punched  in  reference  side  of  matrix  to  enable  the 
operator  to  read  line  of  matrices  as  they  assemble. 

12.  Face  Lines.— These  are  lines  cut  in  the  bottom  of 
two-letter  matrices  (and  on  the  reference  side  of  dis- 
play matrices)  to  identify  the  font.  When  matrices  of 
a  two-letter  font  are  stacked  in  a  sorts  tray,  the  various 
lines  match  up  and  tell  at  a  glance  whether  a  wrong 
font  matrix  is  present.  With  display  faces,  wrong  font 
matrices  can  be  detected  in  the  sorts  tray  or  the  assem- 
bling elevator,  since  the  face  lines  are  on  the  reference 
side  of  the  matrix. 

13.  Lightening  Grooves.— As  the  name  implies,  these 
grooves  are  cut  in  large  matrices  to  lighten  them.  On 
extra  large  matrices  a  lightening  hole  is  used  instead 
of  a  slot. 

14.  Bevel  Cut.— An  angle  cut  used  on  larger  matrices 
to  permit  proper  distribution. 


MATRIX  TOOTH  COMBINATIONS 

Their  Function  in  Matrix  Distribution 


The  dictionary  gives  as  one  of  the  definitions  of  the 
word  "matrix,"  "a  mold  in  which  printers'  letters  are 
cast!'  Immediately  the  matrix  assumes  a  position  of 
paramount  importance  to  the  printer,  for  he  realizes, 
above  all  others,  that  the  ultimate  value  of  the  print- 
ing process  lies  in  the  perfection  of  the  type  mold,  or 
matrix.  The  printer,  whatever  his  field  of  activity,  has 
found  a  new  joy  in  the  beauty  of  the  old  designs  and 
new  interest  in  the  sparkle  of  the  "moderns!'  All  that 
is  fine  in  typography  has  been  made  available  to  him 
in  the  form  of  Linotype  matrices,  with  a  distinct  sav- 
ing of  time  and  money.  This  saving  has,  in  no  small 


measure,  been  due  to  the  elimination  of  the  time- 
wasting  methods  of  hand  distribution. 

Linotype  matrix  distribution  is,  in  many  ways,  the 
most  ingenious  part  of  the  whole  machine.  It  has 
been  achieved  through  the  use  of  matrix  tooth  com- 
binations, each  character  running  in  the  magazine 
having  its  own  particular  combination.  The  term 
"tooth  combination"  refers  to  the  teeth  or  projections 
on  the  inside  of  the  triangular  opening  at  the  top  of 
the  matrix.  There  are  seven  of  these  teeth  on  each 
side,  and  for  convenience  in  referring  to  them,  they 
are  numbered  from  1  to  7,  as  illustrated.  The  teeth  on 


XVI 


both  sides  are  designated  alike,  and,  in  cutting  combi- 
nations, both  of  like  number  would  be  cut  out  or  left 
in,  as  the  case  might  be. 

In  conjunction  with  the  tooth  combinations  there  is 
a  distributor  bar,  along  which  the  matrices  are  carried 
by  revolving  screw  action.  When  the  combination  ot 
a  given  matrix  arrives  at  and  meshes  with  its  com- 
plementary distributor  bar  segment,  12  3  4  5  6  7 
the  matrix  is  released  from  the  bar 
and  falls  by  gravity  into  its  proper 
magazine  channel. That  is  the  whole 
secret  of  Linotype  distribution. 

A  matrix  with  all  its  teeth  is  called 
a  "pi"  matrix.  It  does  not  drop  into 
a  magazine  channel,  but  is  carried 
across  the  full  length  of  the  bar,  and 
drops  into  a  tube,  through  which  it 
falls,  by  gravity,  to  the  sorts  stacker. 

The  primary  function  of  the  matrix  teeth  is,  then, 
to  direct  the  return  of  the  matrix  to  the  magazine 
channel  assigned  to  it.  A  secondary  function  of  the 
teeth  is  to  provide  the  means  for  elevating  the  matrix 
to  the  distributing  mechanism  and  guiding  it  on  to 
the  distributor  bar. 

In  order  to  cause  the  matrices  to  drop  into  their  re- 
spective channels  certain  of  the  combination  teeth 
must  be  removed  or  cut  away.  This  is  called  "cutting 
the  combination!'  By  cutting  away  some  ot  the  teeth 
and  leaving  others  in  the  matrix,  it  is  possible  to  se- 
cure 126  different  tooth  combinations  for  controlling 
the  distribution  of  a  like  number  of  different  matrix 
characters  to  the  channels  of  the  main  and  auxiliary 
magazines.  The  standard  Linotype  magazine  con- 
tains 91  channels,  including  an  extra  channel  for 
lower  case  "e"  and  the  wide  auxiliary  magazine  34 
channels,  to  each  of  which  is  assigned  a  different  com- 
bination of  matrix  teeth  and  a  corresponding  combi- 
nation on  the  distributor  bar. 

In  the  charts  the  combinations  are  given  for  the 
channels  of  the  various  magazines.  The  figures  given 
indicate  the  teeth  that  are  left  in  the  matrix,  the  others 
being  eliminated.  The  charts  also  give  the  number  of 
each  channel,  from  left  to  right,  the  lug  channel  size, 
and  the  character  which  usually  runs  in  each  channel. 

To  Safeguard  Matrix  Teeth 

To  enable  the  matrix  to  travel  from  one  position  or 
transfer  point  to  another  with  a  maximum  of  smooth- 
ness and  with  a  minimum  of  friction  and  resultant 
wear,  the  teeth  must  be  perfectly  proportioned  with 
relation  to  the  functions  they  are  designed  to  perform. 
The  teeth  ot  the  matrix,  the  grooves  ot  the  second  ele 
vator  and  distributor  box  bars,  and  the  segments  of 
the  distributor  bar  are  necessarily  interdependent  and 


inseparable  in  maintaining  a  perfectly  coordinated 
distributing  mechanism. 

The  matrix  combination  is  sufficient  under  ordi- 
nary conditions  to  last  for  years.  It  is  possible,  how- 
ever, to  ruin  a  set  ot  matrices  in  a  short  time  by  bur- 
ring or  wearing  out  the  combinations.  The  cause  ot 
the  combinations  becoming  injured  is  invariably  due 
to  bad  alignment  at  one  or  possibly  all  of  the  various 
transfer  points. 

There  are  three  of  these  transfers;  that  is  to  say,  the 
matrices  are  transferred  at  three  distinct  points  where 
the  teeth  are  involved. 

The  tirst  transfer  is  from  the  first  elevator  jaw  to 
the  second  elevator  bar  at  the  intermediate  channel. 
A  matrix,  when  in  position  in  the  (irst  elevator  jaw  at 
this  transfer  point,  should  line  up  with  the  bar  so  that 
a  perfect  transfer  to  the  bar  can  be  obtained  without 
binding.  There  is  a  set  screw  at  the  bottom  of  the  first 
elevator  slide,  on  the  right  hand  side,  for  raising  or 
lowering  the  slide.  The  alignment  of  the  first  elevator 
jaw  rails  and  the  intermediate  channel  rails  should  be 
perfect.  This  will  take  care  of  the  vertical  alignment. 
Then,  to  take  care  of  lateral  alignment  at  the  point 
where  the  matrix  is  supported  by  the  first  elevator 
jaw  rails  and  is  just  sliding  on  to  the  second  elevator 
bar,  there  is  an  intermediate  channel  front  plate  ex- 
tension, which,  by  means  ot  screw  bushings,  makes  it 
possible  to  move  the  second  elevator  bar  either  toward 
the  front  or  the  rear,  as  may  be  desirable  to  secure  a 
true  aligning  condition  of  matrix  teeth  and  bar.  This 
is  one  of  the  most  important  adjustments  from  the 
standpoint  of  the  matrix  teeth.  The  second  elevator 
bar  should,  of  course,  be  perfectly  smooth  and  tree 
from  burrs,  as  should  be  the  other  two  bars  along 
which  the  matrix  must  travel. 

The  second  transfer  is  from  the  second  elevator  bar 
to  the  distributor  box  bar.  The  second  elevator,  when 
in  its  normal  position,  should  be  so  adjusted  that  the 
second  elevator  bar  will  line  up  with  the  distributor 
box  bar.  This  is  a  doweled  factory  setting  and  ordi- 
narily should  give  no  concern. 

The  third  transfer  is  from  the  distributor  box  rails 
to  the  distributor  bar.  These  rails  should  be  perfectly 
square  with  one  another.  Place  a  matrix  on  the  dis- 
tributor box  rails  and  raise  up  the  outside  distributor 
screw;  turn  the  distributor  screws  slowly  by  hand  and 
sec  that  the  matrix  when  supported  on  the  distributor 
box  rails  will  transfer  freely  on  to  the  distributor  bar. 
This  adjustment  is  likewise  factory-set.  It  does  not 
shift  under  ordinary  working  conditions. 

Perfect  alignment  should  be  maintained  at  all  the 
abo\e  mentioned  points.  It  is  to  the  advantage  of  the 
Linotype  user,  in  the  interest  of  the  long  life  of  mat- 
rices, to  occasionally  check  these  adjustments  and  to 
make  slight  corrections  that  may  be  found  necessary. 


XVII 


TOOTH  COMBINATION  CHARTS 

9Q-Channel  Magazine 


CHAN. 

CHAN. 
SIZE 

CHAR, 

TEETH    IN 
COMBINATION 

CHAN, 
NO, 

CHAN. 
SIZE 

TEETH    IN 
CHAR,                        COMBINATION 

CHAN 
NO- 

CHAN, 

SIZE 

CHAR 

TEETH    IN 
COMBINATION 

0 

.050 

elst 

2 

30 

.090 

ffi 

6 

61 

.090 

E               1 

-2-3-4-5-6 

1 

.050 

e 

1-2 

31 

.090 

ffl 

1-6 

62 

.080 

T 

7 

2 

.050 

t 

3 

32 

.090 

Em  Space 

2-6 

63 

.090 

A 

1-7 

3 

.060 

a 

1-3 

33 

.040 

Comma 

1-2-6 

64 

.080 

0 

2-7 

4 

.050 

0 

2-3 

34 

.040 

Period 

3-6 

65 

.060 

1 

1-2-7 

5 

.040 

i 

1-2-3 

35 

.050 

Colon 

1-3-6 

66 

.090 

N 

3-7 

6 

.060 

n 

4 

36 

.050 

Semicolon 

2-3-6 

67 

.070 

S 

1-3-7 

7 

.050 

s 

1-4 

37 

.060 

Interrogation 

1-2-3-6 

68 

.100 

H 

2-3-7 

8 

.060 

h 

2-4 

38 

,055 

Figure  Space 

4-6 

69 

.090 

R 

1-2-3-7 

9 

.050 

r 

1-2-4 

39 

.040 

( 

1-4-6 

70 

.090 

D 

4-7 

10 

.060 

d 

3-4 

40 

.040 

Vertical  Rule 

2-4-6 

71 

.080 

L 

1-4-7 

11 

.040 

1 

1-3-4 

41 

.040 

Front  Quote 

1-2-4-6 

72 

.090 

U 

2-4-7 

12 

.070 

u 

2-3-4 

42 

.050 

Exclamation 

3-4-6 

73 

.070 

C 

1-2-4-7 

13 

.060 

c 

1-2-3-4 

43 

.040 

Hyphen 

1-3-4-6 

74 

.100 

M 

3-4-7 

14 

.090 

m 

5 

44 

.040 

Tliin  Space 

2-3-4-6 

75 

.080 

F 

1-3-4-7 

15 

.050 

f 

1-5 

45 

.040 

)                   1 

-2-3-4-6 

76 

.110 

W 

2-3-4-7 

16 

.090 

w 

2-5 

46 

.055 

En  Leader 

5-6 

77 

.090 

Y 

1-2-3-4-7 

17 

.060 

y 

1-2-5 

47 

.040 

Apostrophe 

1-5-6 

78 

.080 

P 

5-7 

18 

.060 

P 

V 

3-5 

48 

.055 

Asterisk 

2-5-6 

79 

.090 

V 

1-5-7 

19 

.060 

1-3-5 

49 

.055 

1 

1-2-5-6 

80 

.080 

B 

2-5-7 

20 

.060 

b 

2-3-5 

50 

.055 

2 

3-5-6 

81 

.080 

G 

1-2-5-7 

21 

.060 

g 

k 

1-2-3-5 

51 

.055 

3 

1-3-5-6 

82 

.090 

K 

3-5-7 

22 

.070 

4-5 

52 

.055 

4 

2-3-5-6 

83 

.080 

Q 

1-3-5-7 

23 
24 

.060 
.040 

q 
j 

1-4-5 
2-4-5 

53 

54 

.055 
.055 

5                     1 
6 

-2-3-5-6 
4-5-6 

84 
85 

.060 
.090 

J 
X 

2-3-5-7 
1-2-3-5-7 

25 
26 

.070 
.050 

X 

z 

1-2-4-5 
3-4-5 

55 
56 

.055 
.055 

7 
8 

1-4-5-6 
2-4-5-6 

86 
87 

.070 
.090 

z 

ce  or  @ 

4-5-7 
1-4-5-7 

27 

.060 

fi 

1-3-4-5 

57 

.055 

9                    1 

-2-4-5-6 

88 

.090 

ae  or  lb 

2-4-5-7 

28 
29 

.060 
.070 

fl 
ff 

2-3-4-5 
1-2-3-4-5 

58 
59 
60 

.055 
.055 
,100 

0 

$                     1 

Em  Leader  2 

3-4-5-6 

-3-4-5-6 
-3-4-5-6 

89 
90 

.060 
.090 

& 

Em  Dash 

1-2-4-5-7 
3-4-5-7 

72-Channel  and  Wide  11-Channel  Magazine 


0 

1 

2 

3 

4 

5 

6 

7 

8 

9 

10 

11 

12 

13 

14 

15 

16 

17 

18 

19 

20 

21 

22 

23 


CHAN- 
SIZE 

.050 

.050 

.050 

.060 

.050 

.040 

.060 

.050 

.060 

.050 

.060 

.040 

.070 

.060 

.090 

.050 

.090 

.060 

.060 

.060 

.060 

.060 

.070 

.060 


CHAR 

e  1st 
e 
t 
a 

0 

i 

n 

s 

h 

r 

d 

1 

u 

c 

m 

f 

w 

y 
p 

V 

b 

g 
k 

q 


TEETH    IN 
COMBINATION 

2 

1-2 

3 


1-3 
2-3 

2-3 
4 
1-4 
2-4 
2-4 


1- 

2- 
1-2- 

3- 
1-3- 
2-3-5 
2-3-5 

4-5 
1-4-5 


24 

25 

26 

27 

28 

29 

30 

31 

32 

33 

34 

35 

36 

37 

38 

39 

40 

41 

42 

43 

44 

45 

46 

47 

48 


CHAN 
SIZE 

.040 

.070 

.050 

.040 

.040 

.050 

.090 

.055 

.055 

.055 

.053 

.055 

.055 

.055 

,055 

.055 

.055 

.055 

.040 

.090 

.080 

.090 

.080 

.060 

.090 


X 

z 

Coinma 

Period 

Semicolon 

Em  Space 

1 


2 
3 

4 

5 

Figure  Space 

6 

7 

8 

9  1- 

0 

Thin  Space 

E  1-2 

T 

A 

0 

I 

N 


TEETH    IN 
COMBINATION 

2-4-5 

1-2-4-5 

3-4-5 

1-2-6 

3-6 

2-3-6 

3-4-5 

2-5-6 

3-5-6 

5-6 

5-6 

5 

4 

5 

5 

5 

5 


6 
6 
6 
6 
6 
6 

3-4-5-6 

2-3-4-6 

3-4-5-6 

7 

1-7 

2-7 

1-2-7 

3-7 


49 
50 
51 
52 
53 
54 
55 
56 
57 
58 
59 
60 
61 
62 
63 
64 
65 
66 
67 
68 
69 
70 
71 
72 


CHAN 
SIZE 

.070 
.100 
.090 
.090 
.080 
.090 
.070 
.100 
.080 
.110 
.090 
.080 
.090 
.080 
.080 
.090 
.080 
.060 
.090 
.070 
.040 
.040 
.040 
.055 


S 

H 

R 

D 

L 

U 

C 

M 

F 

W 

Y 

P 

V 

B 

G 

K 

Q 

J 

X 

Z 

Hyphen 

Thin  Space 


TEETH    IN 
COMBINATION 

1-3-7 
2-3-7 

1-2-3-7 

4-7 

1-4-7 

2-4-7 

1-2-4-7 
3-4-7 

1-3-4-7 

2-3-4-7 

1-2-3-4-7 

5-7 

1-5-7 

2-5-7 

1-2-5-7 
3-5-7 
3-5-7 
3-5-7 


1 

2 

1-2 


3 

4 

1-4 

2-4 


•5-7 
■5-7 
■5-7 
-5-7 


Apostrophe  1-2-4-5-7 
$  3-4-5-7 


XVIII 


TOOTH   COMBINATION   CHARTS,  continued 
55-Channel  Arrangemeut  of  12-Channel  Magazine 


CHAN. 

CHAN 

72-CHAM 

55-CHAN. 

TEETH    IN 

CIIAtl 

CHAt) 

72-rHAM 

55-CHAN 

TEETH    IN 

NO. 

SIZE 

CHAR 

CHAR 

COMBINATIOrj 

HO 

SIZE 

CHAP 

CHAR 

COMBINATION 

0 

.050 

e  1st 

a 

2 

37 

.055 

6 

X 

4-5-6 

1 

.050 

e 

1-2 

38 

.055 

7 

G 

1-4-5-6 

2 

.050 

t 

0 

3 

39 

.055 

8 

2-4-5-6 

3 

.060 

a 

1-3 

40 

.055 

9 

T 

1 

-2-4-5-6 

4 

050 

0 

e 

2-3 

41 

.055 

0 

3-4-5-6 

5 

.040 

i 

f 

1-2-3 

42 

.040 

Thin  Space 

t 

2-3-4-6 

6 

.060 

n 

Figure  Space 

4 

43 

.090 

E 

M 

1-2 

-3-4-5-6 

7 

.050 

s 

1-4 

44 

.080 

T 

7 

8 

.060 

h 

A 

2-4 

45 

.090 

A 

P 

1-7 

9 

.050 

r 

1-2-4 

46 

.080 

0 

k 

2-7 

10 

.060 

d 

0 

3-4 

47 

.060 

1 

r 

1-2-7 

11 

.040 

1 

Thin  Space 

1-3-4 

48 

.090 

N 

H 

3-7 

12 

.070 

u 

n 

2-3-4 

49 

.070 

S 

1-3-7 

13 

.060 

c 

i 

1-2-3-4 

50 

.100 

H 

Q 

2-3-7 

14 

.090 

m 

h 

5 

51 

.090 

R 

5 

1-2-3-7 

15 

.050 

f 

d 

1-5 

52 

.090 

D 

K 

4-7 

16 

.090 

w 

2-5 

53 

.080 

L 

Hyphen 

1-4-7 

17 

.060 

y 

B 

1-2-5 

54 

.090 

U 

V 

2-4-7 

18 

.060 

p 

N 

3-5 

55 

.070 

C 

1 

1-2-4-7 

19 

.060 

V 

1-3-5 

56 

.100 

IVI 

m 

3-4-7 

20 

.060 

b 

c 

2-3-5 

57 

.080 

F 

J 

1-3-4-7 

21 

.060 

g 

w 

1-2-3-5 

58 

.110 

W 

D 

2-3-4-7 

22 

.070 

k 

4-5 

59 

.090 

Y 

V 

1 

-2-3-4-7 

23 

.060 

q 

b 

1-4-5 

60 

.080 

P 

F 

5-7 

24 

.040 

j 

y 

2-4-5 

61 

.090 

V 

J 

1-5-7 

25 

.070 

X 

1-2-4-5 

62 

.080 

B 

W 

2-5-7 

26 

.050 

z 

g 

3-4-5 

63 

.080 

G 

1-2-5-7 

27 

.040 

Comma 

Comma 

1-2-6 

64 

.090 

K 

L 

3-5-7 

28 

.040 

Period 

3-6 

65 

.080 

Q 

u 

1-3-5-7 

29 

.050 

Semicolon 

z 

2-3-6 

66 

.060 

J 

P 

2-3-5-7 

30 

.090 

Em  Space 

Y 

1-3-4-5 

67 

.090 

X 

1 

-2-3-5-7 

31 

.055 

1 

S 

1-2-5-6 

68 

.070 

Z 

R 

4-5-7 

32 

.055 

2 

q 

3-5-6 

69 

.040 

Hyphen 

1 

1-4-5-7 

33 

.055 

3 

Period 

1-3-5-6 

70 

.040 

Thin  Space 

2-4-5-7 

34 

.055 

4 

E 

2-3-5-6 

71 

.040 

Apostrophe 

U 

1 

-2-4-5-7 

35 

.055 

5 

1-2-3-5-6 

72 

.055 

$ 

3-4-5-7 

36 

.055 

Figure  Space 

C 

4-6 

Commercial  Fractions— 90-Channel  Magazine.  Diagram  No.  1  or  W 

When  commercial  tractions  are  run  in  the  maj^azine  they  usually  displace  other  characters,  as  tollovvs: 


CHAN 

TEETH    111 

CHAN, 

TEETH    IN 

CHAR 

CHArj 

SIZE 

COMBINATION 

ilHAk 

1  MAN                                  SIZE 

COMBINATION 

1/8 

ffi 

.090 

6 

3/8 

Interrogation  .060 

1-2-3-6 

1/4 

ffl 

.090 

1-6 

1/2 

Asterisk            .055 
Z                        .070 

2-5-6 
4-5-7 

3/4     m 


CHAN. 

TEETH    IN 

SIZE 

COMBINATION 

090 

2-4-5-7 

060 

1-2-4-5-7 

2%-Channel  Auxiliary  Magazine 


HAN 

CHAN 

O. 

SIZE 

CH/ 

1 

.070 

A 

2 

.070 

0 

3 

.070 

H 

4 

.070 

V 

5 

.070 

B 

6 

.070 

P 

7 

.070 

1 

8 

.070 

W 

9 

.070 

c 

TEETH    IN 

LHAIJ 

CHAN 

COMBINATION 

NO 

SIZE 

H 

1-3-4-5-7 

10 

.070 

Q 

2-3-4-5-7 

11 

.070 

J 

6-7 

12 

.070 

X 

1-6-7 

13 

.070 

D 

2-6-7 

14 

.070 

R 

1-2-6-7 

15 

.070 

K 

3-6-7 

16 

.070 

Y 

1-3-6-7 

17 

.070 

E 

2-3-6-7 

18 

.070 

S 

19 

.070 

L 

TEtlH     IN 

CHAN. 

CHAN 

TEETH    IN 

roMBINATlOrj 

NO 

SIZE 

-HAR 

COMBINATION 

1-2-3-6-7 

20 

.070 

Z 

1-5-6-7 

4-6-7 

21 

.070 

F 

2-5-6-7 

1-4-6-7 

22 

.070 

T 

1-2-5-6-7 

2-4-6-7 

23 

.070 

M 

3-5-6-7 

1-2-4-6-7 

24 

.070 

Period 

2-3-5-6-7 

3-4-6-7 

25 

.070 

G 

1-3-5-6-7 

2-3-4-6-7 

26 

.070 

U 

1-2-3-5-6-7 

1-3-4-6-7 

27 

.070 

N 

4-5-6-7 

2-3-4-6-7 

28 

.070 

Comma 

1-4-5-6-7 

5-6-7 

XIX 


TOOTH   COMBINATION  CHARTS,  continued 


34-Cbannel  Auxiliary  Magazine 


CHAN 

*CHAN. 

TEETH    IN 

CHAN 

*CHAN 

NO, 

SIZE 

CHAR 

cc 

MBINATION 

NO. 

SIZE 

CH 

1 

.055 

1 

2 

-3-4-5-7 

13 

.050 

T 

2 

.055 

2 

1 

-3-4-5-7 

14 

.060 

A 

3 

.050 

3 

1-2 

-3-4-5-7 

15 

.050 

0 

4 

.040 

4 

6-7 

16 

.040 

1 

5 

.040 

5 

1-6-7 

17 

.060 

N 

6 

.050 

6 

2-6-7 

18 

.050 

S 

7 

.055 

7 

1-2-6-7 

19 

.060 

H 

8 

.055 

8 

3-6-7 

20 

.050 

R 

9 

.055 

9 

1-3-6-7 

21 

.060 

D 

10 

.955 

0 

2-3-6-7 

22 

.040 

L 

11 

.055 

Em  Sp. 

1 

-2-3-6-7 

23 

.070 

U 

12 

.050 

E 

4-6-7 

Also 

for  Wide 

34-C 

TEETH    IN 

CHAN. 

*CHAN. 

COMBINATION 

NO. 

SIZE 

CM 

1-4-6-7 

24 

.060 

c 

2-4-6-7 

25 

.090 

M 

1-2-4-6-7 

26 

.050 

F 

3-4-6-7 

27 

.090 

W 

2-3-4-6-7 

28 

.060 

Y 

1-3-4-6-7 

29 

.060 

P 

1-2-3-4-6-7 

30 

.060 

V 

5-6-7 

31 

.060 

B 

1-5-6-7 

32 

.060 

G 

2-5-6-7 

33 

.070 

K 

1-2-5-6-7 

34 

.040 

J 

3 

2-3 

1-3 

-2-3 

4 

1-4 

2-4 

-2-4 


3- 
2-3- 
1-3- 


IINATION 

■5-6-7 

-5-6-7 

-5-6-7 

-5-6-7 

■5-6- 

-5-6- 

•5-6- 

■5-6- 

■5-6- 

■5-6- 

■5-6- 


Also  for  Wide  34-Channel  Auxiliary  Magazine  with  narrow  lug  channels. 


Wide  ^4-Channel  Auxiliary  Magazine 


CHAN. 

CHAN 

CHAN. 

TEETH    IN 

CHAN 

CHAN 

NO. 

SIZE 

SIZE 

CHAR, 

COMBINATION 

NO 

SIZE 

1 

.055 

.090 

1 

2 

-3-4-5-7 

13 

.080 

2 

.055 

.090 

2 

1 

-3-4-5-7 

14 

.090 

3 

.050 

.090 

3         1 

-2 

-3-4-5-7 

15 

.080 

4 

.040 

.090 

4 

6-7 

16 

.060 

5 

.040 

.090 

5 

1-6-7 

17 

.090 

6 

.050 

.090 

6 

2-6-7 

18 

.070 

7 

.055 

.090 

7 

1-2-6-7 

19 

.100 

8 

.055 

.090 

8 

3-6-7 

20 

.090 

9 

.055 

.090 

9 

1-3-6-7 

21 

.090 

10 

.055 

.090 

0 

2-3-6-7 

22 

.080 

11 

.055 

.090 

Em  Sp. 

1 

-2-3-6-7 

23 

.090 

12 

.090 

E 

4-6-7 

24 

.070 

TEETH    IN 

CHAN 

CHAN 

CHAR 

COMBINATION 

NO 

SIZE 

T 

1-4-6-7 

25 

.100 

A 

2-4-6-7 

26 

.080 

0 

1-2-4-6-7 

27 

.100 

1 

3-4-6-7 

28 

.090 

N 

2-3-4-6-7 

29 

.080 

S 

1-3-4-6-7 

30 

.090 

H 

1-2-3-4-6-7 

31 

.080 

R 

5-6-7 

32 

.080 

D 

1-5-6-7 

33 

.090 

L 

2-5-6-7 

34 

.060 

U 

1-2-5-6-7 

C 

3-5-6-7 

'For  Wide  34-Channel  Auxiliary  Magazine  used  on  Model  28  and  on  other  models  where  large  display  faces  are  to  be  used 


TEETH    IN 

CHAR 

COMBINATION 

M 

2-3-5-6-7 

F 

1-3-5-6-7 

W 

1 

-2-3-5-6-7 

Y 

4-5-6-7 

P 

1-4-5-6-7 

V 

2-4-5-6-7 

B 

1 

-2-4-5-6-7 

G 

3-4-5-6-7 

K 

2 

-3-4-5-6-7 

J 

1 

-3-4-5-6-7 

used 

exc 

usively. 

ADVERTISING   FIGURES 
90-Channel  Magazine.  Diagram  No.  32 


CHAN. 

TEETH    IN 

CHAN 

TEETH    IN 

CHAN, 

TEETH    IN 

CHAR. 

CHAN 

SIZE 

COMBINATION 

CHAR 

CHAN 

SIZE 

COMBINATION 

CHAR 

CHAN 

SIZE 

COMBINATION 

1 

fl 

.060 

2-3-4-5 

6 

Asterisk 

.055 

2-5-6 

$ 

Excl.d) 

.050 

3-4-6 

2 

flfi 

.090 

6 

7 

X 

.090 

1-2-3-5-7 

Period 

( 

.040 

1-4-6 

3 

ffl 

.090 

1-6 

8 

Z 

.070 

4-5-7 

Comma 

) 

.040 

1-2-3-4-6 

4 

Inter. 

(?) 

.060 

1-2-3-6 

9 

@ 

.090 

1-4-5-7 

t 

& 

.060 

1-2-4-5-7 

5 

Vt.  Rl.(i) 

040 

2-4-6 

0 

lb 

.090 

2-4-5-7 

28-Channel  Auxiliary  Magazine.  Diagram  No.  96  (Two  Sets  oj  Figures) 


CHAN 

TEETH    IN 

CHAN 

TEETH    IN 

CHAN 

TEETH    IN 

CHAR. 

CHAN 

SIZE 

COMBINATION 

CHAR. 

CHAN, 

SIZE 

COMBINATION 

CHAR 

CHAN 

SIZE 

COMBINATION 

1 

A 

.070 

1-3-4-5-7 

0 

J 

.070 

4-6-7 

6 

T 

.070 

1-2-5-6-7 

2 

B 

.070 

2-6-7 

Period 

K 

.070 

3-4-6-7 

7 

U 

.070 

1-2-3-5-6-7 

3 

C 

.070 

2-3-6-7 

Comma 

L 

.070 

5-6-7 

8 

V 

.070 

1-6-7 

4 

D 

.070 

2-4-6-7 

$ 

M 

.070 

3-5-6-7 

9 

w 

.070 

1-3-6-7 

5 

E 

.070 

1-3-4-6-7 

0 

N 

.070 

4-5-6-7 

0 

X 

.070 

1-4-6-7 

6 

F 

.070 

2-5-6-7 

1 

0 

.070 

1-2 

-3-4-5-7 

Period 

Y 

.070 

2-3-4-6-7 

7 

6 

.070 

1-3-5-6-7 

2 

P 

.070 

1-2-6-7 

Comma 

z 

.070 

1-5-6-7 

8 

H 

.070 

6-7 

3 

Q 

.070 

1 

-2-3-6-7 

$ 

Period 

.070 

2-3-5-6-7 

9 

1 

.070 

3-6-7 

4 

5 

R 

S 

.070 
.070 

1 
1-2 

-2-4-6-7 
-3-4-6-7 

0 

Comma 

.070 

1-4-5-6-7 

XX 


TOOTH   COMBINATION   CHARTS,  Advertising  Figures,  cotitinmd 


i4-Channel  Auxiliary  Magazine.  Diagram  No.  5 1 A  (Two  Sets  of  Figures) 


*CHAN 

TEETH    IN 

*CHAN 

TEETH    IN 

•cHAN 

TEETH    IN 

CHAR. 

CHAN 

SIZE 

COMBlNATIOfJ 

CHAR 

CHAN 

SIZE 

COMBINATION 

CHAR. 

CHAN 

SIZE 

COMBINATION 

1 

1 

.055 

2 

-3-4-5-7 

Period 

E 

.050 

4-6-7 

6 

p 

.060 

1-4-5-6-7 

2 

2 

.055 

1 

-3-4-5-7 

Comma 

T 

.050 

1-4-6-7 

7 

V 

.060 

2-4-5-6-7 

3 

3 

.050 

1-2 

-3-4-5-7 

$ 

A 

.060 

2-4-6-7 

8 

B 

.060 

1 

-2-4-5-6-7 

4 

4 

.040 

6-7 

? 

0 

.050 

1-2-4-6-7 

9 

G 

.060 

3-4-5-6-7 

5 

5 

.040 

1-6-7 

1 

C 

.060 

3-5-6-7 

0 

K 

.070 

2 

-3-4-5-6-7 

6 

6 

.050 

2-6-7 

2 

M 

.090 

2-3-5-6-7 

Period 

R 

.050 

5-6-7 

7 

7 

.055 

1-2-6-7 

3 

F 

.050 

1-3-5-6-7 

Comma 

D 

.060 

1-5-6-7 

8 

8 

.055 

3-6-7 

4 

W 

.090 

1-2-3-5-6-7 

$ 

L 

.040 

2-5-6-7 

9 

9 

.055 

1-3-6-7 

5 

Y 

.060 

4-5-6-7 

0 

U 

.070 

1-2-5-6-7 

0 

0 

.055 

2-3-6-7 

■  Also  for 

Wide  34 

-Channel 

Auxiliary  Magazin 

e  with  narrc 

)W  luq  ch 

annels 

Wide  ^A-Channel  Auxiliary  Magazine.  Diagram  No.  5  lA  (Tii'o  Sets  oj  Figures) 


CHAN. 
CHAR  CHAN.        SIZE 


TCHAN. 
SIZE 


TEETH    IN 
COMBINATIOrj 


.055  .090  2-3-4-5-7 

.055  .090  1-3-4-5-7 

.050  .090  1-2-3-4-5-7 

.040  .090  6-7 


5 

5 

.040 

.090 

1-6-7 

1 

C 

.070 

6 

6 

.050 

.090 

2-6-7 

2 

M 

.100 

7 

7 

.055 

.090 

1-2-6-7 

3 

F 

.080 

8 

8 

.055 

.090 

3-6-7 

4 

W 

.100 

9 

9 

.055 

.090 

1-3-6-7 

5 

Y 

.090 

0 

0 

.055 

.090 

2-3-6-7 

6 

P 

.080 

CHAN 
SIZE 


Period     E  .090 

Comma  T  .080 

$  A  .090 

0  0  .080 


tFor  Wide  34-Channel  Auxiliary  Magazine  used  on  Model  28  and  on  other  models  where  large 


TEETH    IN 

CHAN 

TEETH    IN 

COMBINATION 

CHAR         r 

HAN 

SIZE 

COMBINATION 

4-6-7 

7 

V 

.090 

2-4-5-6-7 

1-4-6-7 

8 

B 

.080 

1-2-4-5-6-7 

2-4-6-7 

9 

G 

.080 

3-4-5-6-7 

1-2-4-6-7 

0 

K 

.090 

2-3-4-5-6-7 

3-5-6-7 

Period 

R 

.090 

5-6-7 

2-3-5-6-7 

Comma 

D 

.090 

1-5-6-7 

1-3-5-6-7 

$ 

L 

.080 

2-5-6-7 

1-2-3-5-6-7 

C 

U 

.090 

1-2-5-6-7 

4-5-6-7 

1-4-5-6-7 

odels  where  large 

display  faces  are  to  be 

used  exclusively. 

THE  ALL-PURPOSE  LINOTYPE 


THE  A-P-L  is  a  complete,  selt-contained  unit  ior 
the  casting  oi  type  in  the  lorm  ot  slugs  in  faces 
ranging  from  6  point  to  144  point;  the  casting 
of  furniture,  rules,  borders,  decorative  and  spacing 
material  from  6  point  to  72  point  body  and  42  picas  in 
length.  The  compositor  sets  and  justifies  the  matrices 
by  hand  in  sticks  similar  to  the  printer's  composing 
stick.  Standard  A-P-L  matrices  are  made  to  align  the 
characters  at  the  bottom  in  all  point  sizes  up  to 
144  point.  Two-letter,  one-letter  and  display  standard 
Linotype  matrices,  and  other  hand-set  matrices,  may 
be  used  with  equal  facility.  As  the  A-P-L  has  no  com- 
plicated technical  features,  and  the  main  functions 
are  the  same  as  those  employed  in  hand  composition, 
any  compositor  can  quickly  become  proficient  in  its 
operation.  The  setting  and  justifying  of  the  line  of 
matrices,  letter  spacing  and  other  details  are  handled 
in  exactly  the  same  way  as  type  composition. 

The  stick  ot  justified  matrices  is  inserted  in  the 
jaws,  a  lever  pulled,  the  slug  automatically  cast  and 
cooled,  ready  for  immediate  use  and  the  stick  of  mat- 
rices returned  for  distribution.  The  entire  cycle  of  op- 
eration is  completed  in  less  than  ten  seconds.  The 


stick  ot  matrices  may  be  left  in  the  machine  and  any 
number  ot  duplicate  slugs  cast  automatically  without 
further  attention;  or  just  as  soon  as  the  lever  is  pulled 
to  cast  the  first  line,  the  operator  is  tree  to  begin  com- 
posing another  line  in  an  e.xtra  stick,  without  waiting 
for  the  first  to  be  delivered. 

The  A-P-L  is  essentially  a  printer's  tool  and  should 
not  be  confused  with  keyboard  composing  machines 
with  reference  to  special  training  or  qualifications  for 
its  operation.  All  the  common  principles  of  universal 
practice  in  setting  type  by  hand  are  embodied  in 
A-P-L  operation. 

To  the  basic  unit  may  be  added  many  features, 
.some  ot  which  are  necessary  to  all  installations  and 
others  that  are  desirable,  depending  upon  the  re- 
quirements ot  the  individual  plant.  For  example,  the 
A-P-L  may  be  used  as  supplementary  equipment  to 
Linotype  installations  to  produce  faces  of  considera- 
bly larger  point  size  than  those  afforded  by  the  range 
of  the  equipment  on  the  Linotype.  In  other  ca.ses,  the 
A-P-L  may  be  required  to  cover  a  complete  range  of 
type  sizes,  also  furniture,  spacing  and  ornamental  ma- 
terial, rule  forms,  etc. 


XXI 


Matrix  Data 

The  development  of  the  A-P-L  has  introduced  an  en- 
tirely new  feature  in  matrix  design.  The  A-P-L  ma- 
trix, having  a  perfectly  flat  banking  surface  which  is 
presented  to  the  equally  Bat  surface  ot  the  mold,  per- 
forms its  function  in  the  machine  without  friction  or 
wear.  This  feature  insures  long  life  for  the  matrix. 
Another  exclusive  feature  of  the  A-P-L  matrix  is  the 
development  ot  universal,  controlled  alignment.  The 
matrices  align  at  the  bottom,  or  base  of  the  letter, 
which  presents  unlimited  possibilities  in  typographical 
arrangement,  intricate  advertising  effects,  and  com- 
position now  difficult  to  produce  by  other  methods. 

Alignment.— The  type  families,  from  18  point  up, 
have  been  divided  into  two  classifications,  namely 
high  alignment  and  low  alignment,  according  to  the 
characteristics  of  design.  For  example,  a  face  having 
long  descenders  (Bodoni)  would  fall  into  the  high 
alignment  field,  while  another  family  having  short  de- 
scenders (Metro)  would  be  low  alignment.  All  sizes, 
18  point  and  larger,  of  each  classification  align  with 
each  other.  Faces  of  different  classification  would 
rarely  or  never  be  combined,  except  perhaps  in  the 
smaller  sizes.  To  allow  this  to  be  done,  all  faces,  H 
point  and  smaller,  are  made  on  low  alignment  only. 

Italic— Italic  faces  fall  into  three  classes,  depending 
upon  the  angle  of  the  characters,  namely  12,  15  and 
22  degrees.  This  has  been  done  to  preserve  true  char- 
acteristics of  design  and  to  avoid  that  distortion  which 
would  necessarily  result  if  a  uniform  angle  for  all 
faces  was  used. 

Font  Schemes.— A  generous  variety  of  the  most  pop- 
ular faces  is  available  in  a  full  range  of  sizes.  For  con- 
venience, three  different  sizes  of  suggested  fonts  are 
provided,  any  of  which  may  be  increased  or  decreased 
to  meet  individual  requirements.  An  installation  may 
be  modestly  begun  and  additional  sorts  purchased  as 
needed. 

For  general  composition  requirements  up  to  72 
point  the  No.  3  font  is  recommended.  The  No.  1  font 
is  sufficient  for  22-pica  lines.  No.  2  font  is  adequate 
for  open  display  matter  in  42-pica  lines,  but  No.  3  is 
preferable  for  general  use  where  the  maximum  meas- 
use  of  42  is  frequently  required. 

Font  schemes  for  sizes  above  72  point  have  not 
been  suggested,  since  it  is  recommended  that  only  one 
matrix  of  each  character  be  ordered  for  casting  type 
for  the  case  by  cutting  it  on  the  saw. 


Use  of  Non- A-P-L  Matrices.— Regular  Linotype  mat- 
rices, in  a  great  variety  ot  faces,  may  be  used  on  the 
A-P-L,  by  providing  the  proper  equipment  for  that 
purpose.  Other  hand-set  matrices  may  also  be  used  on 
the  A-P-L  by  the  use  of  a  special  stick  only. 

Regular  Linotype  and  other  hand-set  matrices,  be- 
ing difTerent  in  shape  and  design,  cannot  be  mixed  in 
the  line  with  A-P-L  matrices,  nor  with  each  other. 
It  necessary,  they  can  be  cast  separately  and  cut  in. 

Spaces.— The  use  ot  high  and  low  spaces  is  well  un- 
derstood by  the  trade.  High  spaces  may  be  reversed  in 
the  stick  to  cast  low.  High  spacing  material  is  re- 
quired tor  good  stereotyping  conditions  and  for  wax 
moulding.  Low  spaces  are  used  in  all  combination 
casting  with  overhanging  slugs. 

Matrix  Blocks.— We  will  supply  in  the  form  of  A-P-L 
matrix  blocks  many  of  the  designs  which  have  been 
produced  heretofore  in  Linotype  matrix  slides.  This 
would  ordinarily  apply  to  plain  rule  combinations, 
and  the  body  size  would  be  limited  to  36  point.  Full 
fice  rules  up  to  144  point  body,  for  tint  blocks  and 
heavy  bands,  can  be  supplied  on  special  order,  and 
prices  will  be  quoted  on  request.  Where  we  are  re- 
quired to  make  any  design,  whether  rule  or  ornamen- 
tal, larger  than  36  point,  the  price  will  be  quoted  on 
request. 

All  A-P-L  matrix  blocks  with  a  design  on  one  side 
can  be  reversed  tor  casting  low  furniture  or,  if  desired, 
a  cut  can  be  made  in  the  opposite  side  for  casting  high 
furniture,  without  extra  charge.  All  designs  will  have 
to  cast  on  a  body  two  points  larger  than  the  corre- 
sponding Linotype  matrix  slide  point  size,  owing  to 
the  taper  on  the  side  ot  the  routing. 

Accents.— Low  cap  accents  cannot  be  supplied  with 
A-P-L  faces.  It  is  necessary  to  use  high  caps  in  all 
cases.  This  requires  that  a  given  face  be  cast  on  a  body 
size  from  6  to  12  points  larger  than  the  point  size  of 
the  face,  with  corresponding  change  in  alignment  ad- 
justment by  means  of  the  dial. 

For  example,  a  line  of  60  point  with  cap  accents 
must  be  cast  on  72  point  body,  with  the  dial  set  for  72 
point  alignment.  Alternatively,  any  face  can  be  cast 
on  its  own  body  and  alignment,  by  allowing  the  ac- 
cent to  overhang  on  the  constant  edge  supported  by 
under-pinning.  Piece  accents,  cast  on  a  separate  12 
point  slug  and  justified  over  individual  cap  characters 
as  in  hand  type,  must  be  used  on  all  faces  72  point  and 
larger.  All  lower  case  accents,  except  ascending  char- 
acters, can  be  cut  on  the  matrix  and  cast  on  its  own 
body  and  alignment. 


XXII 


A-P-L  MATRIX  FONT  SCHEMES 

Roman  and  Italic 


POINT  SIZE 
FONT  SCHEME 

1 

TO 
2 

24 

J 

30  TO  48 
1       2      3 

54  &  60 
1       2      J 

7  2 

1     2     :i 

POINT  SIZE 
FONT  SCHEME 

1  A 

I 

TO 
2 

24 
3 

30    TO  48 
1       2      3 

54  0  60 
1      2      3 

72 
1      2      3 

A    .                     5 

6 

7 

5    5    6 

3    3   5 

3    3    4 

q                           2 

3 

3 

2    2    3 

2    2    3 

2    2    3 

B 

4 

5 

5 

3    3    5 

2    2    4 

2    2    3 

r 

...  5 

5 

9 

4   4    6 

3   3    4 

3   3   4 

C 

4 

5 

8 

3    3   6 

3    3    5 

3    3    4 

s 

.  5 

6 

10 

4    4    6 

3    3    4 

3    3    4 

D 

4 

5 

6 

3    3    5 

2    2    4 

2    2    3 

t 

.  5 

6 

10 

4    4    6 

3    3    4 

3    3    4 

E 

5 

7 

10 

5    5    7 

4    4   6 

4   4    5 

u 

,  5 

5 

6 

4   4   6 

3    3    4 

3    3   4 

F 

4 

4 

4 

3    3   5 

2    2    4 

2    2    3 

V 

,  3 

4 

4 

3    3    4 

2    2    3 

2    2    3 

G 

4 

4 

4 

3    3   5 

2    2    4 

2    2    3 

w 

.  3 

4 

5 

3    3   4 

2    2    4 

2    2    3 

H 

4 

5 

6 

3    3    5 

2    2    4 

2    2    3 

X 

.  2 

3 

4 

2    2    3 

2    2    3 

2    2    2 

1 

5 

6 

7 

5    5    6 

3    3    5 

3    3    4 

y 

,  3 

3 

5 

3    3    4 

2    2    4 

2    2    3 

J 

2 

2 

2 

2    2    2 

2    2    2 

2    2    3 

z 

2 

3 

3 

2    2    3 

2    2    3 

2    2    2 

K 

2 

3 

3 

2    3    3 

2    2    3 

2    2    3 

1 

4 

5 

8 

4    4    5 

3    3   4 

3    3   3 

L 

5 

5 

6 

4    4    6 

3    3    4 

3    3    3 

2 

3 

4 

5 

3    3   4 

2    2    3 

2    2    3 

M 

4 

4 

6 

3    3   4 

2    2    4 

2    2    3 

3 

.  3 

4 

5 

3    3    4 

2    2    3 

2    2    3 

l\l 

5 

5 

7 

4    4   6 

3    3   4 

3    3    3 

4 

3 

4 

5 

3    3    4 

2    2    3 

2    2    3 

0 

5 

5 

7 

4    4   6 

3    3    4 

3    3    3 

5 

3 

4 

5 

3    3    4 

2    2    3 

2    2    3 

P 

4 

4 

4 

3    3    4 

2    2    4 

2    2    3 

6 

3 

4 

5 

3    3   4 

2    2    3 

2    2    3 

Q 

2 

2 

2 

2    2    2 

2    2    2 

2    2    2 

7 

.  3 

4 

5 

3    3    4 

2    2    3 

2    2    3 

R    . 

4 

5 

6 

4    4    6 

3    3    4 

3    3    3 

8 

.  3 

4 

5 

3    3    4 

2    2    3 

2    2    3 

S 

4 

5 

8 

4    4   6 

4    4    5 

4    4    4 

9 

,  3 

4 

5 

3    3    4 

2    2    3 

2    2    3 

T 

4 

5 

9 

4    4    7 

4    4    5 

4    4    4 

0 

6 

6 

8 

6   6    6 

6   6   6 

6   6   6 

U 

4 

4 

4 

4    4    4 

3    3    4 

3    3    3 

$ 

3 

4 

6 

3    3    5 

3    3    3 

3    3    3 

V 

2 

3 

3 

2    2    3 

2    2    3 

2    2    3 

, 

,  4 

4 

5 

2    2    4 

2    2    4 

2    2    4 

w 

3 

3 

3 

3    3    3 

2    2    3 

2    2    3 

.  5 

5 

6 

3    3    5 

5    5    5 

5    5    5 

X 

2 

2 

2 

2    2    2 

2    2    2 

2    2    2 

2 

2 

3 

2    2    3 

2    2    3 

2    2    2 

Y 

2 

3 

3 

2    2    3 

2    2    3 

2    2    3 

\ 

2 

2 

3 

2    2    3 

2    2    3 

2    2    3 

z 

2 

2 

2 

2    2    2 

2    2    2 

2    2    2 

7 

2 

2 

3 

2    2    2 

2    2    2 

2    2    2 

& 

1 

2 

2 

1    1    1 

1    1    1 

1    1    1 

1 

2 

2 

3 

2    2    3 

2    2    3 

2    2    3 

a 

6 

6 

10 

5    5    6 

3    3    6 

3    3    5 

( 

2 

2 

2 

2    2    2 

1    1    1 

1    1    2 

b 

4 

5 

6 

3    3    5 

3    3    4 

3    3    4 

) 

2 

2 

2 

2    2    2 

1    1    1 

1    1    2 

c 

,  4 

5 

6 

3    3    5 

3   3    4 

3    3    4 

-       . 

4 

4 

4 

2    2    2 

3    3   3 

3    3    3 

d 

4 

5 

8 

3    3   5 

3   3   4 

3    3    4 

2 

2 

2 

2    2    1 

1    1    2 

1    1    2 

e 

6 

7 

10 

5    5    6 

4   4   6 

4   4    5 

> 

2 

2 

4 

2    2    2 

2    2    2 

2    2    2 

f 

4 

5 

6 

3    3   4 

3    3    4 

3    3    4 

' 

2 

2 

2    2    2 

2    2    2 

2    2    2 

g 

4 

5 

6 

3    3    4 

3    3   4 

3    3    4 

% 

1    1    1 

1    1    1 

1    1    1 

h 

4 

5 

9 

3    3    5 

3    3    4 

3    3    4 

1/2 

1    1    1 

1    1    1 

1    1    1 

i 

5 

6 

10 

5    5    6 

3    3   6 

3    3   5 

1/3 

1    1    1 

111 

1    1    1 

J 

2 

3 

3 

2    3    3 

2    2    3 

2    2    3 

2/3 

1    1    1 

1    1    1 

111 

k 

3 

3 

4 

2    3    4 

2    2    3 

2    2    3 

fi 

1    1    1 

1    1    1 

1    1    1 

1 

5 

6 

9 

4    5    6 

3    3    4 

3    3    4 

fl 

1    1    1 

111 

1    1    1 

m 

4 

5 

7 

3    3    4 

2    2    4 

2    2    4 

fF 

1    1    1 

1    1    1 

1    1    1 

n 

5 

5 

9 

4    4    6 

3    3   4 

3    3    4 

ffi 

111 

1    1    1 

1    1    1 

0 

5 

6 

10 

4    4    6 

3    3    4 

3    3    4 

fifl 

1    1    1 

1    1    1 

1    1    1 

P 

4 

5 

5 

3    3    4 

3    3   4 

3    3    4 

No.  1 


14  TO  24     30  TO  48     54  6  60 


277 


242 


199 


199 


Total  Matrices  in  Fonts 


14   TO  24     30  TO  48     54  0   60 


No.  2 


322 


246 


199 


199 


No.  3 


I  4    TO  24     30   TO  48 


425 


332 


281        257 


Note:  Roman  and  Italic  A-P-L  faces  are  also  available  in  6,  8,  10  and  12  point  si^es.  Qiiantilies  are  double  those  of  M  point  No.   1  Schemes. 


Italic  font  totals  are  three  matrices  less  than  corresponding  Roman 
totals,  due  to  the  omission  of  three  fractions,  V2,  V3  and  %  in  all 
italic  fonts. 


Font  schemes  are  not  shown  for  matrices  of  84  to  144  point 
sizes,  since  these  large  characters  are  usually  purchased  for  indi- 
vidual casting  to  cut  up  typo  for  the  cases. 


XXIII 


Before  Using  New  Fonts  of  Matrices 
in  Linotypes 


Magazines  and  spacebands  should  be 
thoroughly  cleaned.  All  spacebands 
should  be  carefully  micrometered  and 
inspected  with  a  knife  straight-edge 
for  rounded  corners  on  the  sleeve. 
Spacebands  which  are  rounded  or 
damaged  at  the  casting  edge  or  which 
have  the  slightest  particle  of  metal 
adhering  to  the  sleeve  at  the  casting 
point  will  damage  the  sidewalls  ot 
new  matrices  very  quickly.  If  the  cor- 
ner of  the  sleeve  at  the  casting  edge  is 
rounded,  new  sleeves  should  be  ap- 
plied before  running  in  matrices. 

Both  the  front  lockup  adjustments 
should  be  inspected  and  properly  cor- 
rected it  this  is  found  to  be  necessary. 

At  the  face  alignment  position  ot 
the  machine  you  should  be  able  to  lift 
the  first  elevator  by  hand  .010  inch, 
and  this  measurement  should  not  be 
exceeded.  This  test  is  to  be  made  with 
a  thirty-em  line  of  matrices,  without 
spacebands,  in  the  first  elevator  jaws. 

With  the  mold  cam  roll  on  the  sec- 
ond shoe,  the  eccentric  pin  should  be 
adjusted  so  that  the  space  between  the 
mold  and  the  vise  jaws  or  matrices 
should  be  not  less  than  .003  or  more 
than  .005.  This  must  be  determined 
by   using  a   thickness  gauge.   Before 


making  this  adjustment,  be  sure  to 
see  that  the  pressure  of  the  pot  lever 
spring  is  released. 

Before  using  new  matrices  in  an  old 
machine  it  is  also  important  that  the 
vise  jaws  be  checked  for  squareness, 
since  after  a  number  of  years  service 
these  jaws  will  show  wear,  causing 
hairlines.  To  avoid  this  condition,  it  is 
advisable  to  have  these  vise  jaws  re- 
ground. 

Carefully  set  the  Pump  Lever  Stop 
Lever  so  that  when  the  line  is  fully 
justified  the  stop  lever  will  be  open  be- 
yond the  block  on  the  pump  lever  not 
more  than  gV  inch. 

First  elevator  link  eyebolts  and  nuts, 
upper  and  lower,  should  be  checked 
and  if  they  show  undue  wear  they 
should  be  replaced. 

Other  and  important  points  that 
should  be  checked  are  the  back  and 
front  mold  wipers.  Oil  in  any  form 
used  at  these  points  will  cause  metal 
to  collect  on  the  side  of  the  matrix, 
crush  the  sidewall,  and  result  in  hair- 
lines. 

Do  not  use  oil  on  pot  pump  plung- 
ers after  cleaning  them,  nor  should  oil 
be  used  in  the  remelting  furnace  in  an 
attempt  to  burn  dirt  out  of  the  metal. 


ALPHABETICAL  INDEX 

Linotype  Faces  are  listed  below,  together  with  locations.  Following 
is  the  Index  of  Decorative  Material,  and  Triangle  Number  Index. 


A 

Cheltenham  Special  Figures 

.    262d 

G 

Cheltenham  Wide  with  Bold 

230-231 

Accents  and  Special  Ciiaracters 

8B7-892b 

Chemical  Characters 

889 

Garamond 

373-444 

Accents,  Piece       

892a 

Christmas  Decoration         1105- 

-09,  1135-36 

Garamond  Family 

.    419-444 

Addenda 

1163-1176 

Classic  Italic 

1075 

Garamond  Bold 

434-444 

Antique  Condensed 

1076 

Classic  with  Century  Bold 

1074-1075 

Garamond  No.  3 

374-383 

Antique  Extra  Condensed 

1076 

Classic  with  Italic 

1073a-1073b 

Garamond  Bold  No.  3          384-402,  1173 

Antique  No.  1 

1-8 
1142-1143 

Clearface  Bold                    .    . 

1077 

General  Information 
German 

.    XI-XXIV 

Arrow  Ciiaracters                888a, 

Clearface  Bold  Italic          .    . 

1077 

831-838 

Astronomical  Ciiaracters 

.     .    888b 

Clearface  Bold  with  Italic 

1077 

German  No.  3 

B 

Cloister  Family 

263-300 

with  Bold  Face  No.  2 

833-837 

Cloister 

266-280 

German  No.  4  with  Bold  Face 

No.  4       838 

Ballot  and  Election  Ciiaracters 

890,  1118 

Cloister  Bold                        282-296,1176 

Gothic  Family 

473-514 

Baskerville                                     9-18,  1164 

Cloister  Wide  with  Cloister  Bold    297-300 

Franklin  Gothic 

474-483 

Benedictine  Family 

19-42 

Commercial  Characters 

889 

Gothic  Advertising  Figures 

512-514 

Benedictine                    .    . 

28-35 

Condensed  Outline             .    . 

1065 

Gothic  Condensed  No.  1 

504 

Benedictine  Bold            .    . 

37-42 
20-27 

Condensed  Title  Gothic      .    . 

1175 

Gothic  Condensed  No.  1 
with  Combinations 

Benedictine  Book 

Condensed  Title  No.  1        .    . 

1078 

504 

Benedictine  Book  witii  Benedict 

ne            36 
43-102 

Contents        

VII 

Gothic  Condensed  No.  2 
Gothic  Condensed  No.  3 

505-508 

Bodoni  Family        

Copy  Fitting 

1193-1200 

...    509 

Bodoni            55-70,  1176 

Gothic  Condensed  No.  4 

...    508 

Bodoni  Bold                   72-91, 

1173,  1175 

D 

Gothic  Condensed  Outline 

1065 

Bodoni  Book 

.    44-54 

Gothic  No.  13 

484-493 

Poster  Bodoni                  85,  91- 

-101,  1176 

Decorative  Material 

1081-1143 

Gothic  No.  13 

Bookman 

103-112b 

DeVinne 

301-308 

with  Cheltenham  Bold  Cono 

ensed      484 

Border  Decoration 

1087-1112 

DeVinne  with  Combinations 

308 

Gothic  No.  13 

Braces                               888a, 

1115,  1138 

DeVinne  Condensed 

1078 

with  DeVinne  Condensed    . 

.485 

Brackets 

388a,  1116 

DeVinne  Extra  Condensed 

1078 

Gothic  No.  14                ... 

510 

DeVinne  Outline 

1064 

Gothic  No.  16                .        . 

.    494-501 

c 

Dots,  Round  and  Square 

1115 

Gothic  No.  16  with  Cheltenham  Bold     495 

Duplex  Display 

1145-1162 

Gothic  No.  16  with  Title  No.  4              496 

Caslon  Family        

113-190b 

Gothic  No.  18            .... 

511 

Caslon                

153-162 

E 

Gothic  No.  38                ... 

.    502-503 

Caslon  Bold 

Caslon  Bold  Condensed 

169-173 
185-188 

Easter  Decoration 

1111-1112 

No.  6  with  Gothic  No.  16 

Vertical  Gothic 
Granjon                              ... 
Greek 

Greek  Bold  Face  No.  1 

Greek  Display  Faces 

Greek  Elzevir 

Greek  Keyboard  Diagrams 

Greek  Metrolite 

Greek  No.  1 

Greek  No.  2 

Greek  No.  3 

Porson  Greek                  .    .    . 

.     .     .    494 

Caslon  Bold  Extra  Condensed 

189-190b 

Ecclesiastical  Characters 

889 

.     .     .    896 

Caslon  No.  2                                   163-168 
Caslon  No.  3          ....    171,  174-184 

Caslon  No.  4      1078 

Caslon  No.  137 113-120 

Caslon  Old  Face     .    .    .    .121-152,1176 
Caption      1076 

Election  and  Ballot  Characters 

Electra                   3C 

Elzevir  No.  2          

890,  1118 

)9-316,  1165 

1079 

.    445-472 

.    819-830 

827 

Elzevir  No.  3 

Emblems                    889a,  lllC 
Erbar  Family                         32' 
Erbar  Bold  Condensed 
Erbar  Light  Condensed 
Erbar  Light  Condensed 

with  Erbar  Bold  Condensed 
Erbar  Medium  Condensed 

317-324 

),  1111,  1114 

»a-338,  1167 

334-338 

329-333 

325-334 
324b-324f 

828-829 
...    827 
...    830 

Century  Family 

Century  Bold 
Century  Bold  Condensed 
Century  Bold  Extra  Condensed 
Century  Expanded                192- 

191-218b 

209-218b 

209,  218a 

218a 

-208,  1164 

...    824 
...    825 
...    826 
...    825 
821-823 

Century  Expanded  witti  Bold 

202-205 

Estienne 

339-346 

H 

Century  Expanded 

Excelsior                                34" 

'-372b,  1167 

with  Cheltenham  Bold 

206-208 

Excelsior  with  Bold  Face  No. 
Excelsior  with  Gothic  No.  3 

2       361-367 
368-370 

Hallowe'en  Characters       ... 

.     .      1112 

Century  Expanded 

Hebrew                              ... 

.    855-874 

with  Gothic  No.  16 

193,  494 

Excelsior  with  Memphis  Bold 

370a-372a 

Hebrew 

861-864 

Checker  Characters 

889,  1114 

Hebrew  Condensed 

870-873 

Cheltenham  Family            .    .    . 

219-262d 

F 

Hebrew  Display  Figures 

...    865 

Cheltenham                    .    .    . 

221-228 

Fac-Simile  Signature  Matrix  Slides         1141 

Hebrew  Extra  Condensed 

.     .         874 

Cheltenham  Adv.  Figures 

262b-262c 

Figures  

905-956 

Hebrew  with  Hebrew  Light 

869 

Cheltenham  Bold 

237a-246 

Fists 

890,  1116 

Hebrew  with  Italic 

868 

Cheltenham  Bold  Condensed 

247-257 

Font  Schemes                       xxii 

,  1189-1192 

Hebrew  with  Italic  No.  3 

868-869 

Cheltenham  Bold  Extra  Cond. 

258-262a 

Food  Store  Typography 

1001-1006 

Hebrew  Light  with  Bold 

860 

Cheltenham  Condensed 

232-233 

Fractions 

957-1000 

Hebrew  No.  2 

861 

Cheltenham  Extra  Condensed 

234-235 

Fraternal  and  Society 

Hebrew  No.  2  with  Bold 

860 

Cheltenham  Medium  Condensed 

236-237 

Emblems           889a,  llic 

,  1111,  1114 

Hebrew  No.  2  (Special) 

859 

XXV 


ALPHABETICAL  I  HDEX,  continued 


Hebrew  No.  3 

866-867 

Metro  Family         

.    625-668d 

P 

Hebrew  No.  3  Italic 

866-867 

Metr^black  No.  2 

636-637b 

Hebrew  No.  3  with  Italic 

...    865 

Metroblack  No.  2  with  Italic  . 
Metroblack  No.  2 

,    638-641C 

Pabst  Extra  Bold                   .    . 
Pabst  Extra  Bold  Condensed 

.    737-762 

1 

with  Metrolite  No.  2 

628-635 

754 

-761,  1173 

Indexes xxv-xxxix  or  1201-1215 

Metrolite  No.  2 

647a-647d 

Pabst  Old  Style  Condensed 

.     .     .1073 

Inferior  Characters 

892b 

Metrolite  No.  2  with  Italic 

648-651C 

Pabst  Old  Style  with  Italic     .    . 

1072-1073 

Ionic  No.  5 

523-540 

Metrolite  No.  2 

Paragon     

.    763-774 

Ionic  No.  5  with  Bold  Face  N 

D.  2   535-540 

with  Metroblack  No.  2  . 

,    642-647 

Paragraph  Marks 

891b,  1117 

Ionic  No.  5  with  Gothic  No.  16              535 

Metrolite  No.  4  Italic 

1080b 

Patriotic  Designs                 1109- 

1111,  1136 

Phonetic  Characters                   . 

.    883-886 

Ionic  No.  5  with  Italic 

.    526-534 

Metromedium  No.  2 

,    658-661 

Piece  Accents                .... 

Ionic  Condensed                 .    . 

.     .     .1080 

Metromedium  No.  2  Italic 

,    668a 

.     .    .    892a 

Ionic  Extra  Condensed 

.     .     .1080 

Metromedium  No.  2  with  Italic 

662-668 

Piece  Brace  Matrices     .... 
Playing  Card  Characters 

.     .     .1115 
891b,  1114 

J 

Metromedium  No.  2 
with  Metrothin  No.  2 

.    652-657b 

Press  Syndicate  Characters 

891a 

Janson                    

.    541-548 

Metrothin  No.  2 

. 661a-661d 

Printed  in  U.  S.  A.,  Logotypes    . 

.     .     .    891b 

Jenson  Condensed  

.     .     .1078 

Metrothin  No.  4  Italic        ,    . 

,     .     .1080b 

R 

Red  Cross  Emblems 

K 

Metro  Advertising  Figures 
Miscellaneous  Faces           ... 

. 668b-668c 
1067-1080b 

,     ,     ,1111 

Keyboard  Diagrams 

1177-1188 

Monetary  Characters     .... 

,    891 

Round  and  Square  Dots 
Rule  Forms  and  Leader  Work 

1115 

L 

Musical  Characters 

...    891 

893-900 

Russian 

.    839-854 

Latin  Compressed               .    . 

.     .       1080a 

s 

Latin  Condensed                 .    . 

1080a 

N 

Narciss 

News  Dash  Matrix  Slides 

Latin  Extra  Condensed 

1080a 

.    669-674b 
.     .1137 

Scotch       

Scotch  No.  2 77 

Self-Spacing  Faces 

775-792 

Leaders 

,    901-904 

5-782,  792 

Jobbing  Leaders 

903 

.  806i-806p 

Leader  Aligning  Dashes 

904 

Newspaper  Body  Faces  .... 

1011-1062 

Ionic  No.  4  with  Antique  No.  8 

806n-806p 

Newspaper  Radial  Leaders 

904 

Aids  in  Selecting 

1061-1062 

No.  17  with  Cond.  Title  No.  5 

806J-8061 

Universal  Dot  Leaders 

.     .    902 

Excelsior  with  Bold  Face  No.  2  1020-1027 

Tariff  Typewriter 

.    806m 

Universal  Hyphen  Leaders 

...    902 

Excelsior  with  Gothic  No.  3 

1028-1033 

St.  Patrick's  Day  Decoration 

,     .     .1112 

Legibility  Group  Faces 

1011-1062 

Ionic  No.  5 

St.  Valentine's  Day  Decoration 

,     .     .1112 

Lining  and  Jobbing  Faces 

549-572 

with  Bold  Face  No.  2 

1037-1044 

Society  and  Fraternal 

Bold  Face  No.  9 

Ionic  No.  5  with  Gothic  No.  16 

1045 

Emblems    ,    .    889a,  llio. 

nil,  1114 

with  Gothic  No.  31 

562-563 

Newspaper  Body  Faces  (in  Combination) 

Special  Characters  and  Accents 

.    887-892b 

Gothic  No.  25 
with  Gothic  Condensed  No. 

with  Black  Face 

1057-1060 

Superior  Characters 

.     .     .    892b 

2                566 

No.  6  with  Gothic  No.  16 

,     ,1056 

Symbols,  Miscellaneous     .    .    . 

.    .    .    891b 

Gothic  No.  25  with  Gothic  No 

.  26  566-567 

Opticon  with  Bold  Face  No.  2 

1046-1050 

T 

Gothic  No.  29  with  Gothic  No 

30  556-557 

Paragon  with  Paragon  Bold 

1051-1055 

Gothic  No.  31  with  Gothic  No 

32  558-559 

Textype  with  Bold  Face  No.  2 

1034-1036 

Tapered  Dash  Matrix  Slides 

.     .     .1137 

Gothic  No.  31  with  Gothic  No 

33  560-561 

Number  1  Series 

675-684 

Telephone  Faces 

. 806a-806h 

Gothic  No.  32  with  Gothic  No 

33  564-565 

Number  1  with  Combinations 

684 

Bell  Gothic 

.    .    .    806d 

Greeting  Card  and  Social  Prir 

ting 

No.  2  with  Antique  No.  2 

.1070 

Gothic  Condensed  No.  4 

.     .     .    806c 

Faces             

.    568-572 

No.  2  with  Gothic  No.  3 

L070b-1071 

Gothic  No.  12 

806c 

Card  Italic 

.     .     ,    570 

No.  4  with  Bold  Face  No.  2  Condensed     1070 
No.  6  with  Gothic  No.  If                     ,     ,1069 
No.  8  with  Bold  Face  No.  2                       1070a 

No.  11  with  Gothic  Condensed 
No.  lib  with  Gothic  Condensed 
No.  12  with  Gothic  No.  8 

Mo.  4      806e 

Caslon  Text 

.     .     .    571 

No.  4b  806e 

Lino  Text 

569 

806f 

Lining  Card  Gothic  Medium  w 

ith  Bold    555 

No.  10  with  Gothic  No.  4 

1068 

No.  12  with  Gothic  No.  11 

806f 

Lining  Memphis  Light 
with  Memphis  Bold 

No.  10  with  Italic  and  Small  Caps            1070a 

Telephone  Keyboard  Diagrams 

806b 

551 

No.  12  with  Gothic  No.  8 

,       1070a 

Textype 

793-806 

Lining  Metromedium  with  Me 

trothin     551 

No.  16 

685-690 

Textype  with  Bold  Face  No.  2 

803-806 

No.  18  with  Antique  Black  No.  1 

,      1069 

Thanksgiving  Day  Border  Decoration      .1112 

M 

No.  21 

691-698 

Time  Table  and  Tariff  Characters 

891a 

Mathematical  Characters 

889a,  889b 

Title  No.  1 

.     .     .1079 

Matrices,  Protection  of  New 

XXIV 

0 

Title  No.  2 

.     ,     .1079 

Matrix  Bridges      

XIV 

Typewriter  Faces  ,                 806 

n,  807-810 

Matrix  Slides 

1119-1143 

Old  Style  No.  1 

699-710 

Remington  Typewriter       .    . 

.     .     .    808 

Matrix  Tooth  Combinations 

.       .       .         XVI 

Old  Style  No.  1  (Ronaldson) 

708 

Underwood  Typewriter       .    . 

.     .     .    809 

Matrix  Slide  Braces 

.     .     .1138 

Old  Style  No.  1  with  Combinations        709 

u 

Universal  Fists 

Medical  Characters 

891 

Old  Style  No.  3 

.    711-716 

,890,  1116 

Memphis  Family   573-624b,  i: 

68-72,  1174 

Old  Style  No.  7      

.    717-730 

Memphis  Bold 

592-603 

Old  Style  No.  7  (Ronaldson) 

729 

V 

Memphis  Bold  with  Memphis 

Light         618 

Opticon                                 730a 

-7301,  1166 

Vertical  Gothic           

.     .    .    896 

Memphis  Bold  with  Memphis 

Medium    624a 

Opticon  with  Bold  Face 

Vertical  Leaders        

.     .     .    895 

Memphis  Extra  Bold 

604-611 

No.  2                     .       730f- 

-730k,  1166 

Vertical  Slug  Matrices  .... 

.     .         896 

Memphis  Light 

Oriental  Faces 

.    875-882 

Vulcan  Bold           

.    811-818 

with  Memphis  Bold 

612-617 

Original  Old  Style 

.    731-736 

Memphis  Medium 

Outline  Faces 

1063-1066 

Y 

with  Memphis  Bold    . 

.    620-624 

Overline  Figures 

...    895 

Yuletide  Decoration            1105-09,1135-36 

XXVI 


INDEX 

OF   DECORATIVE   MATERIAL 

(SHOWN    ON    PAGES    1081    TO  1144) 

fuM  1    IMflT  VDFfnuK^- 

^rr -or  LlrJU  1  Tr't"^"y 

LINOTYPE    BORDER  MATRICES 

BORDER 

POINT                           MATRIX 

BORDER       POINT                           MATRIX 

BORDER       POINT                           MATRIX 

BORDER       POINT                           MATRIX 

NO. 

SIZE            PAGE         SLIDE 

NO               SIZE            PAGE         SLIDE 

NO                SIZE            PAGE          SLIDE 

NO.             SIZE           PAGE        SLIDE 

1 

6          1098    1311 

201/4         6         1103 

G-40             fa         1089 

631/2        6         1098 

la 

6         1098 

201/2         6         1103 

41              6          1102    1429 

G-63L         18         1090 

G-IL 

12          1089 

G-20L         24          1090 

G-41              6          1089 

G-63R        18         1090 

G-IR 

12         1089 

G-20R        24         1090 

42              fa          1102 

64             6         1102 

2 

6            1099     1308 

21             6         1103 

G-42             6         1089 

G-64L         18         1090 

2a 

6         1099 

21a           6         1103 

43             6         1101 

G-64R        18         1090 

G-2L 

12          1089 

21b           6         1103 

G-43L           6         1089 

65             6         1102    1467 

G-2R 

12          1089 

G-21L         24          1091 

G-43R          6         1089 

65a           6         1102 

3 

6             1098     1434 

G-21R        24         1091 

44             fa         1103 

65b           6         1102 

G-3L 

12         1089 

22              6          1103    1462 

G-44L           fa         1089 

651,2         6         1102 

6-3R 

12          1089 

G-22L         24          1091 

G-44R          6         1089 

G-65L         18         1090 

G-4L 

12         1089 

G-22R        24         1091 

45             fa         1095 

G-65R         18         1090 

G-4R 

12         1089 

23             fa         1103 

G-45             6         1089 

66             fa         1101    1616 

5 

6            1099     1432 

G-23L         3fe         1091 

46               6           1102    1420 

66a           6         1101 

G-5L 

12          1089 

6-23R        3fe         1091 

G-46L         12          1090 

G-66L         13         1090 

G-5R 

12          1089 

24             fa         1095    1424 

G-46R         12          1090 

G-66R        18         1090 

6 

6            1098     1317 

24a           6         1095 

47             6          1102    1523 

67             6         1101    1522 

G-6L 

12         1089 

24b           fa         1095 

G-47           12          1090 

G-67L         18         1090 

G-6R 

12          1089 

G-24L         3fa         1091 

48             fa         1103 

G-67R        18         1090 

7 

6            1099     1304 

G-24R         3fa         1091 

481.-2         6         1103 

68             fa         1111    1451 

G-7L 

12         1089 

25             fa          1092 

G-48           12         1089 

G-68          18         1090 

G-7R 

12          1089 

G-25L        36          1091 

49             6         1092 

G-68          24         1090 

8 

6           1099     1573 

G-25R        36          1091 

49 1/2         6         1092 

69            6         1102 

8 1/2 

6          1099 

26             6          1092 

G-49L         12          1089 

G-69          18         1090 

G-8L 

12         1089 

G-26             8         1102 

G-49R         12          1089 

G-69          24         1090 

G-8R 

12         1089 

G-26           10         1102 

50             6         1098    1507 

70            fa         1102 

9 

6          1099    1430 

G-26           12          1102 

50i.'2         fa         1098    1459 

G-70           18          1090 

9a 

6          1099 

G-26           14         1102 

G-50L         12          1090 

G-70           24         1090 

9V4 

6          1099 

27             fa         1097 

G-50R         12          1090 

G-71           24         1090 

9>a 

6          1099 

G-27           12          1102 

51            fa         1098    1506 

72             6          1095 

G-9 

6         1089 

G-27           18         1102 

51a          fa         1098 

72a          6         1095 

10 

6           1099    1431 

28             fa         1097    1773 

G-51L         12          1090 

72b           6         1095 

G-10 

6         1089 

28a           fa         1097 

G-51R         12          1090 

721/4        fa         1095 

11 

6          1098    1315 

28b           fa          1097 

52             6          1102 

721/2        6         1095 

G-llL 

6         1089 

G-28           12          1102 

G-52L         12          1090 

G-72          24         1090 

G-llR 

6         1089 

G-28           18         1102 

G-52R         12         1090 

73            fa         1092 

12 

6          1098    1318 

29             6          1097 

53            6         1102   1314 

G-73          18         1090 

121  4 

6          1098 

G-29L           fa         1089 

53a          6         1102 

G-73          24         1090 

121/2 

6          1098 

G-29R           fa         1089 

G-53          12         1090 

74              6          1097    1717 

G-12L 

6         1089 

30             fa          1099    1458 

54            fa         1102 

74a           6         1097 

G-12R 

6         1089 

G-30             6         1089 

G-54           12          1090 

74b           6         1097 

13 

6          1098    1436 

31               6           1098    1455 

55             6          1102 

741 4         6         1097 

I314 

6         1098 

G-31            fa         1089 

G-55          12         1090 

7412         fa         1097 

131/2 

6         1098 

32            fa         1109    1456 

56                6            1111    1407 

G-74           18         1090 

G-13 

6         1089 

G-32            6         1089 

G-56          12         1090 

G-74           24         1090 

14 

6           1099    1310 

33             6         1092 

57             6         1098    1501 

75             6         1097    1719 

14a 

6         1099 

33b          6         1092 

G-57L         12          1089 

75a           fa         1097 

141.4 

6         1099 

G-33L          6         1089 

G-57R         12          1089 

75b           6         1097 

141/2 

6         1099 

G-33R           fa         1089 

58             6         1102 

751.4         fa         1097 

143/4 

6         1099 

34             6          1101 

G-58           12          1089 

751,2         6         1097 

G-14 

18         1090 

G-34             6         1089 

59            fa         1103 

G-75L         12         1089 

15 

6         1099    1457 

35             6         1103 

591/2        fa         1103 

G-75R        12          1089 

G-15L 

18         1090 

G-35L          fa         1089 

G-59          12         1089 

76             6         1100 

G-15R 

18         1090 

G-35R           fa         1089 

60            fa         1098    1438 

G-76           12         1089 

16 

6            1099     1303 

36             fa          1103 

60 1/4        fa         1098 

77             fa         1101 

G-16L 

18         1090 

G-36            fa         1089 

6OV2        fa         1098 

78             fa         1100    1411 

G-16R 

18         1090 

37             fa         1104 

G-60          12         1089 

781/4        fa         1100 

17 

fa            1099     1337 

G-37             fa          1089 

61            fa         1102 

78i2        6         1100 

G-17L 

18         1090 

38             fa          1104 

G-61L        12         1089 

79            fa         1101 

G-17R 

18         1090 

G-38             fa          1089 

G-61R        12         1089 

80            6         1102 

18 

6            1099     1441 

39            fa         1099    1404 

62               fa           1102    1439 

8OV4        fa         1102 

G-18 

18         1090 

39' 4        fa         1099 

62a           6         1102 

801/2         6         1102 

19 

6          1103    1463 

391/2        fa         1099 

62b           fa         1102 

81             fa         1101    1419 

19a 

6          1103 

G-39             fa         1089 

621/4         fa         1102 

82             6         1101    1415 

19b 

fa          1103 

40             fa         1098    1751 

G-62L         12         1089 

83             6         1103 

19V2 

6          1102 

40a           fa         1098 

G-62R         12         1089 

84             6         1103 

G-19L 

18          1090 

40b           fa         1098 

63             fa         1098    1503 

84a           fa         1103 

G-19R 

18          1090 

401 4         6          1098 

63a          6         1098 

84b           6         1103 

20 

6         1103 

401/2         6         1098 

631/4        6         1098 

841.4         fa         1103 

XXVII 


LI NOTYPE    BORDER 

MATRICES 

BORDER 

POINT 

MATRIX 

BORDER 

POINT 

MATRIX 

BORDER 

POINT 

MATRIX 

BORDER 

POINT 

MATRIX 

NO, 

SIZE 

PAGE    SLIDE 

NO. 

SIZE 

PAGE    SLIDE 

NO, 

SIZE 

PAGE    SLIDE 

NO, 

SIZE 

PAGE    SLIDE 

84  V2 

6 

1103 

126 

6 

1102 

162-sl 

6 

1097   159 

305a 

51/2 

1097 

85 

6 

1103 

126a 

6 

1102 

162-S2 

6 

1097   159 

305b 

5V2 

1097 

85a 

6 

1103 

126b 

6 

1102 

163 

6 

1111 

306 

5 1/2 

1097 

85b 

6 

1103 

127 

6 

1102 

168 

6 

1111 

3061/2 

51/2 

1097 

851/4 

6 

1103 

128 

6 

1100 

171 

6 

1111 

308 

51/2 

1111 

85V2 

6 

1103 

129 

6 

1100 

201 

10 

1095 

401 

8 

1099  1574 

88 

6 

1102  1422 

129a 

6 

1100 

201a 

10 

1095 

4011/2 

8 

1099 

89 

6 

1102  1468 

130 

6 

1100 

201b 

10 

1095 

402 

8 

1102  1423 

89a 

6 

1102 

131 

6 

1104 

201 1,-4 

10 

1095 

403 

8 

1100  1580 

89b 

6 

1102 

131b 

6 

1104 

2011/2 

10 

1095 

404 

8 

1100  1581 

89  V4 

6 

1102 

132 

6 

1110 

202 

10 

1102 

405 

8 

1092 

89V2 

6 

1102 

133 

6 

1100 

2023/4 

10 

1102 

406 

8 

1101 

90 

6 

1102 

134 

6 

1100 

204 

10 

1096 

407 

8 

1103 

91 

6 

1099 

135 

6 

1098 

205 

10 

1099  1575 

408 

8 

1103 

92 

6 

1099 

137 

6 

1100 

2051/2 

10 

1099 

409 

8 

1105 

92a 

6 

1099 

1371/4 

6 

1100 

206 

10 

1099 

410 

8 

1105 

93 

6 

1099  1403 

138 

6 

1099 

207 

10 

1099  1353 

411 

8 

1105 

93a 

6 

1099 

139 

6 

1098 

2071/2 

10 

1099  1353 

412 

8 

1105 

93  V4 

6 

1099 

140 

6 

1098  1460 

208 

10 

1099 

413 

8 

1100 

93  V2 

6 

1099 

141 

6 

1101  1402 

209 

10 

1099  1307 

414 

8 

1105 

94 

6 

1101 

142 

6 

1101  1402 

210 

10 

1098 

415 

8 

1105 

95 

6 

1102 

143 

6 

1101  1402 

211 

10 

1098  1063 

418 

8 

1103 

96 

6 

1092  1426 

144 

6 

1101  1401 

211a 

10 

1098 

419 

8 

1102 

96a 

6 

1092 

145 

6 

1101  1401 

211b 

10 

1098 

420 

8 

1101 

96b 

6 

1092 

146 

6 

1101  1401 

212 

10 

1098 

421 

8 

1109 

97 

6 

1101  1416 

147 

6 

1100 

213 

10 

1098  1604 

422 

8 

1103 

100 

6 

1097  1716 

148 

6 

1101 

214 

10 

1104 

423 

8 

1101 

100V4 

6 

1097 

148d 

6 

1101 

215 

10 

1104  1777 

424 

8 

1098 

lOOVz 

6 

1097 

148e 

6 

1101 

215a 

10 

1104 

425 

8 

1103 

101 

6 

1098  1758 

148f 

6 

1101 

215b 

10 

1104 

426 

8 

1110 

101a 

6 

1098 

148g 

6 

1101 

216 

10 

1104  1775 

427 

8 

1110 

101b 

6 

1098 

149 

6 

1101 

216a 

10 

1104 

428 

8 

1111 

101 1/4 

6 

1098 

149d 

6 

1101 

216b 

10 

1104 

430 

8 

1110 

101V2 

6 

1098 

149e 

6 

1101 

217 

10 

1104  1776 

432 

8 

1111 

102 

6 

1111  1452 

149f 

6 

1101 

217a 

10 

1104 

436 

8 

1111 

104 

6 

1109 

149g 

6 

1101 

217b 

10 

1104 

437 

8 

1111 

104  V4 

6 

1109 

149h 

6 

1101 

218 

10 

1104  1778 

442 

8 

1104 

104V2 

6 

1109 

149i 

6 

1101 

218a 

10 

1104 

445 

8 

1104 

105 

6 

1109 

149j 

6 

1101 

218b 

10 

1104 

446 

8 

1095 

106 

6 

1110 

149k 

6 

1101 

219 

10 

1104 

447 

8 

1098 

107 

6 

1110  1418 

150 

6 

1101 

220 

10 

1092 

452 

8 

1111 

108 

6 

1111  1453 

150d 

6 

1101 

221 

10 

1092  1513 

453 

8 

1111 

110 

6 

1100 

150e 

6 

1101 

221a 

10 

1092 

454 

8 

1103 

111 

6 

1100  1351 

150f 

b 

1101 

221b 

10 

1092 

501 

12 

1098 

Ilia 

6 

1100 

150g 

6 

1101 

222 

10 

1092 

502 

12 

1101 

112 

6 

1100 

150h 

6 

1101 

223 

10 

1091  1435 

503 

12 

1100  1584 

113 

6 

1097  1378 

150i 

6 

1101 

224 

10 

1095 

504 

12 

1100  1585 

113a 

6 

1097 

150j 

6 

1101 

225 

10 

1095 

505 

12 

1101 

113b 

6 

1097 

150k 

6 

1101 

225a 

10 

1095 

506 

12 

1103 

113V4 

6 

1097 

151 

6 

1100 

225b 

10 

1095 

507 

12 

1103 

113V2 

6 

1097 

152d 

6 

1100 

226 

10 

1095 

508 

12 

1103 

114 

6 

1097  1383 

152e 

6 

1100 

227 

10 

1095 

509 

12 

1103 

114V4 

6 

1097 

152f 

6 

1100 

228 

10 

1095 

510 

12 

1101 

114V2 

6 

1097 

152g 

6 

1100 

228a 

10 

1095 

511 

12 

1103 

115 

6 

1097  1386 

153d 

6 

1100 

228b 

10 

1095 

512 

12 

1103 

115a 

6 

1097 

153e 

6 

1100 

229 

10 

1095 

513 

12 

1103 

115V4 

6 

1097 

153f 

6 

1100 

231 

10 

1100 

514 

12 

1103 

115V2 

6 

1097 

153g 

6 

1100 

232 

10 

1100 

515 

12 

1098 

116 

6 

1097  1382 

154d 

6 

1100 

233 

10 

1092 

518 

12 

1105 

116a 

6 

1097 

154e 

6 

1100 

234 

10 

1101 

519 

12 

1105 

116V4 

6 

1097 

154f 

6 

1100 

235 

10 

1103 

520 

12 

1105 

116V2 

6 

1097 

154g 

6 

1100 

236 

10 

1103 

521 

12 

1105 

117 

6 

1100  1360 

154h 

6 

1100 

239 

10 

1099 

522 

12 

1105 

117a 

6 

1100 

154i 

6 

1100 

240 

10 

1110 

523 

12 

1105 

117V4 

6 

1100 

155d 

6 

1100 

243 

10 

1111 

524 

12 

1094  1428a 

117 1/2 

6 

1100 

155e 

6 

1100 

244 

10 

1103 

524V4 

12 

1094 

118 

6 

1100  1409 

155f 

6 

1100 

245 

10 

1111 

5241/2 

12 

1094 

118V4 

6 

1100 

155g 

6 

1100 

262 

10 

1111 

525 

12 

1104 

1181/2 

6 

1100 

155h 

6 

1100 

263 

10 

1111 

526 

12 

1104 

120 

6 

1097  1816 

155i 

6 

1100 

264 

10 

1103 

527 

12 

1102 

121 

6 

1097 

156 

6 

1092 

301 

51/2 

1098  1312 

528 

12 

1092 

122 

6 

1097 

157 

6 

1095  1372 

3011/4 

51/2 

1098 

5281  4 

12 

1092 

123 

6 

1103 

157V4 

6 

1095 

3011/2 

5 1/2 

1098 

529 

12 

1104 

123a 

6 

1103 

158 

6 

1110 

302 

5  1/2 

1099  1309 

530 

12 

1100 

1231/4 

6 

1103 

159 

6 

1102 

3021/4 

51/2 

1099 

531 

12 

1105 

1231/2 

6 

1103 

161 

6 

1098 

3021/2 

51/2 

1099 

532 

12 

1105 

124 

6 

1098 

162 

6 

1097 

303 

51/2 

1098 

533 

12 

1110  1443 

125 

6 

1102 

1621/4 

6 

1097 

305 

51/2 

1097  1822 

534 

12 

1100 

LINOTYPE  BORDER 

MATRICES 

BORDER 

POINT 

MATRIX 

BORDER   POINT           MATRIX 

BORDER 

POINT           MATRIX 

BORDER 

POINT 

MATRIX 

NO- 

SIZE 

PAGE    5LIDE 

NO      SIZE     PAGE    SLIDE 

NO 

SIZE     PAGE    SLIDE 

NO. 

SIZE 

PAGE    SLIDE 

535 

12 

1092 

607    7   nil 

756 

18     1095 

817 

24 

1112 

535b 

12 

1092 

701     18    1105 

757 

18   nil 

818 

24 

1112 

536 

12 

1101 

702    18    1105 

758 

18    1097 

819 

24 

1107 

537 

12 

1103 

703    18    1105 

762 

18    1099 

821 

24 

1093 

538 

12 

1103 

704     18    1105 

763 

18    1110 

821  d 

24 

1093 

539 

12 

1100 

705     18    1105 

764 

18    1087 

822 

24 

1093 

540 

12 

1097 

706    18    1105 

765 

18    1087 

823 

24 

1093 

540". 

12 

1097 

707     18    1105 

766 

18    1087 

824 

24 

1093 

540  V2 

12 

1097 

708     18    1105 

768 

18   nil 

825 

24 

1093 

541 

12 

1097 

709     18    1104 

769 

18    1110 

826 

24 

1093 

541 1/4 

12 

1097 

710     18    1107 

770 

18    1094 

827 

24 

1093 

542 

12 

1100  1500b 

7101/2   18    1107 

77014 

18    1094 

828 

24 

1093 

5421/4 

12 

1100 

711     18    1107 

7701/2 

18    1094 

828d 

24 

1093 

5421/2 

12 

1100 

7111/2   18    1107 

771L 

18    1094 

831 

24 

1110 

543 

12 

1101 

712    18    nil 

771P 

18    1094 

832 

24 

1109 

544 

12 

1101 

713     18    1112 

772 

18    1094 

833 

24 

1110 

545 

12 

1099 

714     18    1112 

773 

18    1094 

850 

24 

1095 

546 

12 

1099 

715     18    1109 

774 

18    1094 

851 

24 

1095 

547 

12 

1099 

715a    18    1109 

7741  4 

18    1094 

852 

24 

1097 

548 

12 

1101 

716     18    1092 

7741/2 

18    1094 

852a 

24 

1097 

549 

12 

1101 

717    18   nil 

775 

18    1094 

853 

24 

1095 

550 

12 

1099 

718     18    1112 

776 

18    1093 

854 

24 

1097 

551 

12 

1099 

719     18    1092 

7761,4 

18    1093 

854a 

24 

1097 

552 

12 

1099 

7191/4   18    1092 

776 1/2 

18    1093 

855 

24 

1095 

553 

12 

1109 

7191/2   18    1092 

777 

18    1093 

856 

24 

1097 

554 

12 

1109 

720     18    1092 

778 

18    1094 

856a 

24 

1097 

555 

12 

1109 

721     18    1110  2006 

779 

18    1094 

857 

24 

1095 

557 

12 

1098 

722     18    1110 

780 

18    1094 

858 

24 

1097 

558 

12 

1098 

723     18    1093 

781 

18    1094 

859 

24 

1095 

559 

12 

1098 

7231 4   18    1093 

782 

18    1094 

860 

24 

1095 

563 

12 

1107 

7231/2   18    1093 

783 

18    1094 

861 

24 

1095 

563 1/2 

12 

1107 

7241-4   18    1093 

784 

18    1094 

862 

24 

1095 

564 

12 

1107 

7241/2   18    1093 

788 

18    1103 

863 

24 

nil 

5641/2 

12 

1107 

724 L    18    1093 

790 

18   nil 

870 

24 

nil 

565 

12 

1107 

724R    18    1093 

791 

18    1104 

871 

24 

1108 

565V2 

12 

1107 

725     18    1096 

792 

18    1104 

8711/2 

24 

1107 

566 

12 

1107 

726     18    1112 

793 

18    1110 

872 

24 

1108 

566V2 

12 

1107 

727     18    1112 

794 

18     1106  2008 

872b 

24 

1108 

567 

12 

1107 

728     18    1107 

7941-4 

18    1106 

872V2 

24 

1108 

5671/2 

12 

1107 

728a    18    1107 

795L 

18    1105  2012 

873 

24 

1108 

568 

12 

1107 

7291/2   18    1106 

795R 

18    1105  2011 

873b 

24 

1108 

5681/2 

12 

1107 

729L    18    1106 

796L 

18    1105  2010 

874 

24 

1096 

569 

12 

1112 

729R    18    1106 

796R 

18    1105  2009 

875 

24 

1096 

570 

12 

1111 

730     18    1106 

797 

18     1101 

876 

24 

1096 

571 

12 

1110 

731     18    1106 

798 

18     1108 

884 

24 

1096 

572 

12 

1110 

732     18    1109 

79812 

18     1108 

885 

24 

1096 

573 

12 

1104 

733     18    1109 

799 

18    1108 

901 

9 

1092 

574 

12 

1112 

734     18    1109 

799b 

18    1108 

902 

9 

1101 

575 

12 

1112 

735    18    1109 

7991/2 

18    1108 

903 

9 

1103 

576 

12 

1110 

736     18    1109 

800 

18    1108 

904 

9 

1103 

577 

12 

1104 

737     18    1109 

800b 

18    1108 

905 

9 

nil 

578 

12 

1104 

738     18    1106 

801 

24     1105 

906 

9 

nil 

579 

12 

1112 

738a    18    1106 

802 

24            1105 

1001 

12 

1104 

580 

12 

1112 

739     18    1106 

803 

24     1105 

1002 

12 

1104 

581 

12 

1106 

739a    18    1106 

804 

24     1105 

1004 

12 

1110 

582 

12 

1110 

740     18    1106 

805 

24     1105 

1005 

12 

1104 

583 

12 

1112 

740a    18    1106 

806 

24     1105 

1008 

12 

1107 

584 

12 

1112 

741     18    1106 

807 

24     1105 

1008a 

12 

1107 

585 

12 

1104 

742     18    1112 

808 

24     1105 

1009 

12 

1103 

586 

12 

1104 

744     18    1106  1011 

809 

24     1104 

1009a 

12 

1103 

587 

12 

1109 

7441/2   18    1106 

810 

24     1107 

1009b 

12 

1103 

588 

12 

1104 

745     18    1112 

81012 

24     1107 

1009' 4 

12 

1103 

589 

12 

1104 

746     18    1110 

811 

24     1107 

1009V2 

12 

1103 

590 

12 

1104 

747     18    1092 

81112 

24     1107 

1014 

12 

1101  1519 

591 

12 

1104 

748     18    1092 

812 

24     1109 

10141 2 

12 

1101  1519 

592 

12 

1109 

749     18    1092 

812a 

24     1109 

1016 

12 

nil 

593 

12 

1112 

750L    18    1092 

813 

24     1110 

1017 

12 

1109 

594 

12 

1104 

750R    18    1092 

814 

24    1095 

101712 

12 

1109 

595 

12 

1112 

751L    18    1092 

814cl 

24    1095 

1021 

12 

1099 

596 

12 

1110 

751R    18    1092 

814e 

24    1095 

1022d 

12 

1096 

597 

12 

1110 

752L    18    1092 

814g 

24    1095 

1022e 

12 

1096   277b 

598 

12 

1110 

752R    18    1092 

814h 

24    1095 

1022f 

12 

1096 

601 

1102 

753     18    1092 

814i 

24    1095 

10221 4 

12 

1096 

602 

1092 

754     18    1092 

814j 

2  4    1095 

102212 

12 

1096 

603 

1101 

755d    18    1091 

815 

24   nil 

1023 

12 

1109 

604 

1103 

755L    18    1091 

816 

24     1100 

1023a 

12 

1109 

605 

1103 

755R    18    1091 

816' 4 

24     1100 

1024 

12 

1091 

606 

nil 

7551 4   18    1091 

81612 

24     1100 

1025 

12 

1091 

XXIX 


LINOTYPE    BORDER    MATRICES 

BORDER 

POINT 

MATRIX 

BORDER       POINT                         MATRIX 

BORDER       POINT                           MATRIX 

BORDER       POINT 

MATRIX 

NO 

SIZE 

PAGE         SLIDE 

NO.              SIZE            PAGE          SLIDE 

NO               SIZE           PAGE         SLIDE 

NO.             SIZE           PAGE 

SLIDE 

1026 

12 

1091 

1060d        12         1094 

1204           36          1088 

1232           36          1110 

1027 

12 

1091 

1060e         12          1094 

12041/4       36         1088 

12321/2      36         1110 

1027 

12Rei 

.1091 

1060f         12          1094 

12041/2       36         1088 

1234          36         1096 

1028 

12 

1091 

1060g        12         1094 

1205           36         1089 

1235          36         1096 

1028 

12Rev 

.1091 

1060h        12         1094 

12051/4      36         1089 

1236          36         1096 

1029 

12 

1111 

1060i         12         1094 

12051/2      36         1089 

1257           36         1096 

1030 

12 

1112 

1060j         12         1094 

1206          36         1088 

1258           36         1096 

1031 

12 

1104 

10601-4      12         1094 

1206b        36         1088 

1259           36         nil 

1032 

12 

1103 

10601/2      12         1094 

1207           36         1087 

1301           28         1104 

1033 

12 

1112 

1061L        12         1091 

1207b        36         1087 

1302           28         1110 

5001 

1034 

12 

1110    1425 

1061R        12          1091 

1208b        36         1087 

1401          30        nil 

1035L 

12 

1106 

1063          12         1088 

1209           36         1087 

1405         30        nil 

1035R 

12 

1106 

IO6314      12         1088 

1209b         36          1087 

1501       14      nil 

10351/2 

12 

1106 

1064          12         1092 

1210           36         1087 

1503           14         1103 

1036 

12 

1106 

10641/4      12         1092 

1210b         36         1087 

1504           14         1101 

1037 

12 

1106 

1066          12         1111 

1211           36         1088 

1506          14         nil 

1038 

12 

1109 

1067          12         1091 

1211b         36         1088 

1510       14      nil 

1039 

12 

1109 

1068          12         1091 

1212          36         1088 

1605           10         1087 

1040 

12 

1109 

1069          12         1094 

1212b        36         1088 

1605          12         1087 

1041 

12 

1109 

1070          12         1091 

1213          36         1087 

1606          10         1087 

1042 

12 

1109 

1073          12         1091 

1213b         36         1087 

1606          12         1087 

1043 

12 

1109 

1074L         12         1091 

1214b         36         1087 

1607          12         1087 

1044 

12 

1106 

1074R        12         1091 

1215b         36         1087 

1608          12         1087 

1044a 

12 

1106 

1075           12          1111 

1216           36         1088 

1609          12         1087 

1045 

12 

1106 

1076           12          1111 

1216b         36         1088 

1610          10         1087 

1045a 

12 

1106 

1079           12         1110 

1217           36         1088 

1610          12         1087 

1046 

12 

1106 

1080           12          1109 

1217b         36         1088 

1611          12         1087 

1046a 

12 

1106 

1081           12         1111 

1218           36         1088 

1612          10         1087 

1047 

12 

1106 

1082           12         1110 

1218b         36         1088 

1612          12         1087 

1048 

12 

1112 

1083          12         1110 

1219           36         1088 

1701         18        nil 

1050 

12 

1112 

1085L         12         1106    1009 

1219b        36         1088 

1702           18         1102 

1052 
10521/2 

12 

12 

1106   1010 
1106 

1085R         12         1106    1008 
1086L         12          1105    1007 

1220          36         1088 
1220b         36         1088 

Playing  Card  Symbols 

1114 

1054 

12 

1092    1180a 

1086R         12          1105    1006 

1221           36         1088 

Checker  Symbols 

1114 

10541/4 
10541/2 

12 
12 

1092 
1092 

1087  12          1101 

1088  12         1106    1005 

1221b         36         1088 
1222           36         1088 

Fraternal  Emblems 

1114 

1056 

12 

1092     1482 

IO8814      12         1106 

1222b        36         1088 

Piece  Braces 

1115 

1056i.> 

12 

1092 

1092          12         1103 

1223           36         1107 

Black  Dots, 

1057d 
1057e 

12 
12 

1096 

1096       278 

1099  12            1091     1484 

1100  12         1091    1484 

12231/2       36         1107 
1224           36         1108 

Round  and  Square 
Fists,  Universal 

1115 

1057g 

12 

1096 

1101            26           1110    4501 

1224b         36         1108 

1116 

1057h 

12 

1096 

1102           26          1110 

12241/2       36         1108 

Decorative  Brackets 

1116 

10571/4 
10571/2 
1059f 

12 
12 
12 

1096 
1096 
1096 

11021/2        26           1110 

1201  36         1104 

1202  36         1093 

1225           36          1108 
1225b         36         1108 
1230          36         1110 

Paragraph  Marks 
Miscellaneous  Designs 

1117 
1112 

10591/4 

12 

1096 

1203           36          1110    7002 

1231            36          1110 

Election  Emblems 

1118 

rrrrnrl     1  M  nX  VPYT  t  in.A 

^inADtLlpiui   yi^LKAnij 

LINOTYPE   MATRIX  SLIDES 

For  space-saving  reasons,  t 

he  following  code  has  been  used  for  the  point  size  column 

Delow  and  on  the  foil 

owing 

pages: 

s.  c  — 

Square  Corner            r.— Reverse            C  — Center            S. —  Special 

Example:  353h  1  2s.c.  S2 

1  22  is  the  listing  (on  page  1  207)  for  1  2  point  Parallel  Rule  Matrix  Slide  No. 

353b, 

which  has  a 

square  corner 

(s.c.)  and  is  designated  as  Special  No.  2  (S2).  The  specimen  showing  of  that  s 

lide  is 

on  page  1  1  22. 

SLIDE 

POINT 

BORDER 

SLIDE             POINT                            BORDER 

SLIDE             POINT                            BORDER 

SLIDE             POINT 

BORDER 

NO. 

SIZE 

PAGE       MATRIX 

NO.               SIZE           PAGE      MATRIX 

NO.               SIZE           PAGE      MATRIX 

NO.                 SIZE            PAGE 

MATRIX 

102 

2 

1130 

134            5         1131 

142b         12         1131 

203             2         1127 

104 

2 

1130 

134a           8         1131 

143             6         1131 

204            2         1127 

104b 

12 

1130 

134b           8         1131 

156             6         1130 

205            6         1127 

105 

2 

1130 

135             6         1131 

157            2         1130 

206            b         1127 

126 

2 

1130 

136             6         1131 

158            3         1130 

207             8          1127 

126a 

6 

1130 

136b         12          1131 

159            6         1131 

208            2         1127 

126a 

6s, c. 

1130 

140           12          1131 

159a           6         1131     162 

209            2         1127 

126b 

6 

1130 

140a         12          1131 

161            3         1130 

212             6          1127 

126b 

6s.c. 

1130 

140b         12         1131 

163b         12          1131 

213             6          1127 

128 

3 

1130 

141             8         1131 

201              2          1127 

216             6         1127 

130 

3 

1130 

141b         12         1131 

202             2         1127 

219             3         1127 

XXX 


LINOTYPE    MATRIX    SLIDES 

SLIDE 

POINT 

BORDER 

SLIDE 

POINT          BORDER 

SLIDE     POINT          BORDER 

SLIDE 

POINT 

BORDER 

NO, 

SIZE 

PAGE   MATRIX 

NO. 

SIZE     PAGE   MATRIX 

NO       SIZE     PAGE   MATRIX 

NO. 

SIZE 

PAGE   MATRIX 

220 

3 

1127 

353b 

12S1  1122 

404b    12S.C.  1120 

409 

6 

1119 

249 

6 

1127 

353b 

12S.C.  S2  1122 

404b    12s.c.r.ll21 

409a 

6 

1120 

251 

5 

1127 

353b 

12S3  1122 

404dtoq  6    1143 

409b 

6 

1120 

252 

6 

1127 

354 

6    1121 

404>'2    2    1119 

410 

6 

1119 

255 

5 

1127 

354a 

6S.C.  1122 

404i2a  12    1120 

410a 

12 

1120 

255a 

6 

1127 

354b 

6    1121 

4041/28  12r.   1120 

410a 

12r. 

1120 

256 

6 

1135 

354b 

6s. c.  1122 

404i2b  12    1120 

410b 

12 

1120 

258 

5 

1127 

355 

6    1121 

404V2b  12r.   1120 

410b 

12r. 

1120 

261 

6 

1127 

356 

6    1121 

405     2    1119 

411 

6 

1119 

262 

6 

1127 

356a 

6    1121 

405a     6    1120 

411a 

6 

1120 

263 

4 

1126 

356a 

6S.C.  1122 

405a     br.       1120 

411a 

12 

1120 

264 

8 

1127 

356b 

6    1121 

405a     6S.C.  1120 

411a 

12S.C. 

1121 

265 

10 

1126 

356b 

6S.C.  1122 

405a     6s.c.r.ll21 

411a 

12r. 

1120 

266 

6 

1126 

375 

8    1121 

405a    12S.C.  1120 

411b 

6 

1120 

267 

12 

1126 

376 

8    1121 

405a    12s.c.r.ll21 

411b 

12 

1120 

267a 

12 

1126 

376a 

8    1121 

405a    12S3   1120 

411b 

12r. 

1120 

268 

6 

1125 

376a 

Bs.c.  1122 

405b     6    1120 

412 

6 

1119 

268a 

6 

1125 

376a 

12    1121 

405b     6r.   1120 

412a 

12 

1120 

269 

8 

1126 

376a 

12r.   1121 

405b     6S.C.  1120 

412b 

12 

1120 

270 

6 

1127 

376a 

12S.C.  1122 

405b     6S.C.1-.1121 

413 

8 

1119 

271 

10 

1126 

376b 

8    1121 

405b    12S.C.  1120 

413a 

12 

1120 

271a 

10 

1126 

376b 

8s. c.  1122 

405b    12s.c.r.ll21 

413b 

12 

1120 

272 

5 

1127 

376b 

12    1121 

405b    12S3   1120 

414 

10 

1119 

274 

6 

1127 

376b 

12S.C.  1122 

406     3    1119 

414a 

10 

1120 

277 

12 

1126  10226 

377 

8    1128 

406    12C1  1120 

414b 

10 

1120 

277a 

12S.C. 

1126 

381 

12    1121 

406     12C2   1121 

415 

10 

1119 

277b 

12 

1126  1022e 

400 

2    1119 

406     12C3   1120 

415a 

12 

1120 

278 

12 

1126  1057e 

400a 

6    1119 

406     12C4  1120 

415b 

12 

1120 

278a 

12 

1126  1057e 

400a 

6S1   1141 

406a     6    1120 

416 

12 

1119 

278a 

12s. c. 

1126 

400a 

6S2   1141 

406a     br.   1120 

417 

12 

1119 

278b 

12 

1126  1057e 

400a 

6S3   1141 

406a     6S.C.  1120 

417a 

12 

1120 

301 

2 

1121 

400b 

6    1119 

406a     6s.c.r.ll21 

417b 

12 

1120 

303 

3 

1121 

400b 

6S1   1141 

406a     6S   1141 

418 

12 

1119 

303a 

6 

1121 

400b 

6S2   1141 

406a    lOs.c.  1120 

418a 

12 

1120 

303a 

6r. 

1121 

400b 

6S3   1141 

406a    12    1120 

418b 

12 

1120 

303a 

6s. c. 

1121 

401 

2    1119 

406a    12S1  1120 

419 

5 

1119 

303a 

12 

1121 

401a 

6    1119 

406a  :2s.c.  S2  1120 

419a 

6 

1120 

303a 

12r. 

1121 

401a 

6r.   1120 

406a    12S3  1120 

419b 

6 

1120 

303a 

12S.C. 

1122 

401a 

6S4  1141 

406b     6    1120 

420 

10 

1119 

303b 

6 

1121 

401b 

6    1119 

406b     br.   1120 

421 

12 

1119 

303b 

6r. 

1121 

401b 

br.       1120 

406b     bs.c.  1120 

423 

b 

1119 

303b 

6s. c. 

1121 

410b 

6S4   1141 

406b     6s.c.r.ll21 

425 

3 

1119 

303b 

12 

1121 

402 

2    1119 

406b     6S   1141 

426 

b 

1119 

303b 

12r. 

1121 

402 

6S   1141 

406b    lOs.c.  1120 

427 

4 

1119 

303b 

12s. c. 

1122 

402 

8S   1141 

406fa    12    1120 

455 

6 

1126 

304 

4 

1121 

402a 

6    1119 

406b    12S1  1120 

503 

4 

1123 

305 

5V2 

1121 

402a 

6S.C.  1120 

406b  12S.C.  S2  1120 

504 

3 

1123 

306 

12 

1121 

402b 

6    1119 

406b    12S3  1120 

505 

4 

1123 

307 

8 

1121 

402b 

6S.C.  1120 

407     4    1119 

505a 

6 

1124 

308 

14 

1121 

403 

2    1119 

407     12C1  1121 

505a 

bs.c. 

1124 

308a 

14 

1122 

403a 

6    1119 

407     12C2  1121 

505b 

6 

1124 

351 

4 

1121 

403a 

br.       1120 

407     12C3  1120 

506 

5 

1123 

351a 

6 

1121 

403a 

6S.C.  1120 

407     12C4  1120 

506 

br. 

1123 

351a 

6r. 

1121 

403a 

6S   1119 

407     12SC  1143 

506a 

5 

1124 

351a 

6s. c. 

1122 

403a 

14    1119 

407a     6    1120 

507 

2 

1121 

351a 

12 

1121 

403b 

6    1119 

407a     br.   1120 

508 

4 

1123 

351a 

12s. c. 

1122 

403b 

6r.    1120 

407a     bs.c.  1121 

508 

4r. 

1123 

351b 

6 

1121 

403b 

6S.C.  1120 

407a    12    1120 

508a 

b 

1124 

351b 

br 

1121 

403b 

6S   1119 

407a    12S1  1120 

508a 

bs.c. 

1124 

351b 

6s. C. 

1122 

403b 

14     1119 

407a  12S.C.  S2  1121 

508b 

b 

1124 

351b 

12 

1121 

404 

2     1119 

407a    12S3  1120 

508b 

bs.c. 

1124 

351b 

12s. c. 

1122 

404 

6SC  1143 

407b     b    1120 

509 

8 

1124 

352 

6 

1121 

404a 

6    1119 

407b     br.   1120 

510 

5 

1123 

353 

5 

1121 

404a 

6r.   1120 

407b     bs.c.  1121 

510a 

5 

1124 

353 

12C1 

1122 

404a 

bs.c.  1120 

407b    12    1120 

510a 

5s.c. 

1124 

353 

12C2 

1122 

404a 

6S.C. 1.1121 

407b    12S1   1120 

513 

b 

1123 

353 

12C3 

1121 

404a 

6S   1119 

407b  12S.C.  S2  1121 

513a 

6 

1124 

353 

12C4 

1121 

404a 

12    1120 

407b    12S3  1120 

513a 

bs.c. 

1124 

353a 

6 

1121 

404a 

12r.   1120 

407dtoq  12    1143 

513a 

12s. c. 

1124 

353a 

6s. c. 

1122 

404a 

12S.C.  1120 

407V2    4    1119 

513b 

bs.c. 

1124 

353a 

6s. c. 

r.ll22 

404a 

12s.c.r.ll21 

407V2a   6    1120 

513b 

12s. c. 

1124 

353a 

12 

1121 

404b 

6    1119 

407'2a  12    1120 

514 

b 

1123 

353a 

12S1 

1122 

404b 

br.       1120 

407i2b   6    1120 

514 

br. 

1123 

353a 

12s. C.  S2 

1122 

404b 

bs.c.  1120 

4071  2b   br.   1120 

514a 

b 

1124 

353a 

12S3 

1122 

404b 

6s.c.r.ll21 

4071 2b  12    1120 

514c 

b 

1124 

353b 

6 

1121 

404b 

6S   1119 

408     5    1119 

515 

6 

1123 

353b 

6s. c. 

1122 

404b 

12    1120 

408a     b    1120 

516 

b 

1123 

353b 

12 

1121 

404b 

I2r.   1120 

408b     6    1120 

516a 

1124 

XXXI 


LINOTYPE    MATRIX    SLIDES 

SLIDE 

POINT 

BORDER 

SLIDE     POINT 

BORDER 

SLIDE 

POINT 

BORDER 

SLIDE 

POINT 

BORDER 

NO. 

SIZE 

PAGE   MATRIX 

NO,      SIZE 

PAGE   MATRIX 

NO. 

SIZE 

PAGE   MATRIX 

NO. 

SIZE 

PAGE 

MATRIX 

516a 

6r. 

1124 

742      6 

1123 

1329 

6 

1135 

1400 

12 

1128 

516a 

6s. c. 

1124 

742a     6 

1123 

1330 

6 

1133 

1401 

6 

1126 

144-5-6 

516a 

6s. c. 

r.ll24 

742a     65.C. 

1123 

1330a 

6 

1133 

1401a 

6 

1126 

516b 

6 

1124 

742a    12 

1123 

1331 

6 

1133 

1401b 

6 

1126 

516b 

6r. 

1124 

742b     6 

1123 

1331a 

6 

1133 

1402 

6 

1126 

141-2-3 

516b 

6S.C. 

1124 

742b     6S.C. 

1123 

1332 

8 

1133 

1403 

4 

1128 

93 

516b 

6S.C. 

r.ll24 

742b    12 

1123 

1332a 

8 

1133 

1404 

6 

1128 

39 

517 

6 

1123 

743     12 

1123 

1333 

6 

1135 

1406 

12 

1129 

517a 

6s. c. 

1124 

745     12 

1122 

1334 

6 

1133 

1406b 

12 

1129 

518 

12 

1123 

746     12 

1123 

1335 

6 

1135 

1407 

6 

1128 

56 

519 

10 

1124 

851     12 

1122 

1336 

12 

1132 

1408 

8 

1129 

521 

6 

1123 

852     12 

1123 

1337 

6 

1130   17 

1409 

6 

1129 

118 

522 

12 

1124 

891     12 

1122 

1337a 

6 

1130 

1410 

12 

1129 

523 

14 

1124 

892     11 

1122 

1338 

6 

1133 

1411 

6 

1129 

78 

536 

8 

1124 

893     12 

1122 

1338a 

6 

1133 

1412 

6 

1129 

537 

10 

1124 

894     12 

1123 

1338b 

6 

1133 

1413 

12 

1129 

538 

12 

1124 

895     14 

1123 

1339 

6 

1133 

1414 

12 

1129 

538a 

12s. c. 

1124 

896     8 

1123 

1339b 

6 

1133 

1415 

6 

1133 

82 

539 

12 

1124 

897     12 

1123 

1340 

6 

1133 

1416 

51/2 

1133 

97 

540 

14 

1124 

930      6 

1135   50V2 

1340b 

6 

1133 

1418 

6 

1136 

107 

541 

14 

1124 

932     12 

1135 

1341 

6 

1133 

1419 

6 

1134 

81 

542 

12 

1124 

1001     12 

1135 

1341b 

6 

1133 

1420 

6 

1134 

46 

543 

8 

1124 

1002     12 

1136 

1342 

6 

1133 

1421 

12 

1129 

543b 

8s. c. 

1124 

1005     12 

1136  1088 

1342b 

6 

1133 

1421a 

12 

1129 

545 

16 

1124 

1005a    12 

1136  1088 

1343 

6 

1135 

1422 

6 

1134 

88 

601 

5 

1122 

1006     12 

1135  1086R 

1344 

12 

1133 

1423 

8 

1134 

402 

601a 

5 

1122 

1006a    12 

1135 

1345 

12 

1133 

1424 

6 

1134 

24 

601b 

5 

1122 

1007     12 

1135  1086L 

1346 

14 

1126 

1425 

12 

1136 

1034 

602 

51/2 

1123 

1007b    12 

1135 

1347 

16 

1125 

1426 

6 

1133 

96 

602a 

12 

1123 

1008     12 

1136  1085R 

1348 

16 

1126 

1427 

6 

1133 

602b 

12 

1123 

1009     12 

1136  1085L 

1349 

12 

1133 

1427a 

6 

1133 

603 

4 

1122 

1010     12 

1136 

1350 

18 

1133 

1428a 

12 

1135 

524 

647 

10 

1122 

1010b    12 

1136  1052 

1351 

3 

1130   111 

1429 

6 

1135 

41 

648 

6 

1121 

1011     18 

1136 

1351a 

6 

1130 

1430 

5 

1130 

9 

649 

12 

1122 

1011b    18 

1136   744 

1351b 

6 

1130 

1430a 

6 

1130 

649a 

12 

1122 

1012      6 

1136 

1352 

18 

1135 

1430b 

6 

1130 

650 

8 

1122 

1012b     6 

1136 

1353 

4 

1130   207 

1431 

5 

1130 

10 

651 

5 

1122 

1204      8 

1132 

2  07 1/2 

1432 

6 

1130 

5 

652 

6 

1122 

1204a    12 

1132 

1355 

8 

1130 

1433 

12 

1129 

652a 

6 

1122 

1205     12 

1132 

1357 

5V2 

1131 

1434 

6 

1129 

3 

652b 

6 

1122 

1206     12 

1135 

1358 

6 

1130 

1435 

10 

1134 

223 

653 

6 

1122 

1207L    12 

1132 

1359 

10 

1134 

1436 

6 

1129 

13 

653a 

6 

1122 

1207R    12 

1132 

1359a 

10 

1134 

1437 

12 

1134 

654 

5 

1122 

1226     12 

1133 

1360 

6 

1130   117 

1438 

5 

1131 

60 

654a 

6 

1122 

1282      6 

1135 

1361 

12 

1136 

1439 

6 

1133 

62 

654a 

5s.c. 

1122 

1295     10 

1130 

1362 

9 

1128 

1439a 

6 

1133 

654a 

6s. c. 

1122 

1296     14 

1130 

1364 

14 

1128 

1439b 

6 

1133 

654b 

5s. c. 

1122 

1297a    14 

1129 

1365 

6 

1128 

1441 

6 

1129 

18 

654b 

6 

1122 

1299     8 

1130 

1368 

6 

1133 

1441a 

6 

1129 

654b 

6s. c. 

1122 

1301     8 

1130 

1369a 

18 

1130 

1442 

10 

1135 

655 

6 

1123 

1302     4 

1130 

1371 

8 

1128 

1442a 

14 

1135 

656 

8 

1123 

1303     5 

1130   16 

1371a 

8 

1128 

1443 

12 

1136 

533 

657 

8 

1122 

1304     6 

1130    7 

1372 

6 

1134   157 

1444 

12 

1129 

658 

12 

1122 

1305     12 

1130 

1372b 

6 

1134 

1445 

6 

1129 

659 

8 

1122 

1306     12 

1134 

1373L 

8 

1130 

1451 

6 

1136 

660 

8 

1122 

1307     10 

1130   209 

1373R 

8 

1130 

1452 

6 

1136 

661 

18 

1126 

1308     4 

1129    2 

1374L 

12 

1130 

1453 

6 

1136 

662 

18 

1123 

1309     4 

1129   302 

1374R 

12 

1130 

1454 

6 

1136 

734 

18 

1123 

1309a     6 

1129 

1376a 

18 

1130 

1455 

6 

1129 

31 

735 

8 

1123 

1309b     6 

1129 

1376b 

18 

1130 

1456 

6 

1136 

735a 

8 

1123 

1310     3 

1134    14 

1377 

6 

1132 

1457 

6 

1129 

15 

735b 

8 

1123 

1310a     6 

1134 

1378 

6 

1132   113 

1458 

6 

1129 

30 

736 

8 

1123 

1310b     6 

1134 

1380a 

12 

1130 

1459 

6 

1129 

50 1/2 

736a 

8 

1123 

1311      5 

1128    1 

1381 

14 

1133 

1460 

6 

1129 

140 

736a 

12s. c. 

1123 

1312     5 

1128   301 

1382 

6 

1132   116 

1462 

6 

1135 

22 

736b 

8 

1123 

1313     3 

1134 

1383 

6 

1132   114 

1463 

51/2 

1135 

19 

737 

6 

1122 

1313a     6 

1134 

1384a 

24 

1130 

1464 

6 

1135 

737a 

6 

1122 

1313b     6 

1134 

1386 

6 

1132   115 

1465 

12 

1135 

737a 

6s.c. 

1122 

1314     6 

1129   53 

1387 

6 

1128 

1467 

6 

1133 

65 

737a 

8 

1122 

1314a     6 

1129 

1388 

8 

1127 

1468 

6 

1133 

89 

737a 

12 

1122 

1314b     6 

1129 

1388a 

12 

1127 

1479 

12 

1134 

737b 

6 

1122 

1315     6 

1135   11 

1389 

6 

1128 

1479a 

12 

1134 

737b 

6s. c. 

1122 

1317     6 

1129    6 

1390 

6 

1128 

1480 

12 

1133 

737b 

12 

1122 

1318      6 

1129   12 

1391 

12 

1128 

1480a 

12 

1133 

1054 

738 

9 

1123 

1321      6 

1135 

1391a 

12 

1128 

1481 

12 

1134 

738 

9r. 

1123 

1323      6 

1135 

1392a 

12 

1127 

1481a 

12 

1134 

739 

8 

1123 

1326     6 

1135 

1394 

12 

1134 

1482 

12 

1133 

1056 

740 

6 

1123 

1327     6 

1133 

1398a 

8 

1134 

1482a 

12 

1133 

LI 

NOTYPE    MATRIX    SLIDES 

SLIDE 

POINT 

BORDER 

SLIDE 

POINT 

BORDER 

SLIDE 

POINT 

BORDER 

SLIDE     POINT          BORDER 

NO 

SIZE 

PAGE 

MATRIX 

NO. 

SIZE 

PAGE   MATRIX 

NO. 

SIZE 

PAGE   MATRIX 

NO.       SIZE     PAGE   MATRIX 

1483b 

12 

1135 

1603 

10 

1129  211 

1693 

18 

1126 

1816b    6    1131 

1484 

12 

1133 

1099 

1604 

10 

1129   213 

1701 

4 

1131 

1818     3    1131 

1100 

1609 

b 

1127 

1708 

4 

1131 

1822     5    1131   305 

1485b 

18 

1135 

1610 

12 

1127 

1712 

8 

1131 

1822a     6    1131 

1486 

11 

1134 

1613 

6 

1127 

1715 

4 

1133 

1822b    6    1131 

1486b 

11 

1134 

1616 

6 

1127    66 

1716 

6 

1131   100 

1825     18    1132 

1487 

12 

1112 

1617 

4 

1127 

1716a 

12 

1131 

1826     6    1131 

1489 

12 

1134 

1618 

6 

1127 

1716b 

12 

1131 

1827     6    1131 

1489b 

12 

1134 

1619 

12 

1126 

1717 

6 

1131    74 

1828a    18    1131 

1490 

12 

1135 

1620 

12 

1126 

1718 

5 

1131 

1829a    24    1131 

1491 

12 

1128 

1621 

18 

1126 

1719 

6 

1131    75 

1830     18    1135 

1492 

12 

1128 

1622 

12 

1126 

1719a 

6 

1131 

1831a    18    1135 

1493 

6 

1128 

1623 

SVi 

1127 

1719b 

6 

1131 

1843     6    1133 

1496 

12 

1135 

1624 

6 

1126 

1721 

5 

1131 

*  1844     12    1130 

1499 

12 

1128 

1650 

8 

1125 

1725 

6 

1134 

1844a    12    1130 

1499a 

12 

1128 

1654 

10 

1133 

1728 

6 

1133 

1845     14    1130 

1500b 

12 

1131 

542 

1655a 

3 

1125 

1751 

4 

1131   40 

1845a    14    1130 

1501 

6 

1129 

57 

1656 

6 

1125 

1758 

6 

1131   101 

1846     14    1128 

1503 

6 

1128 

63 

1656a 

6 

1125 

1763 

b 

1131 

1846a    14    1128 

1504 

10 

1128 

1658 

12 

1125 

1769 

4 

1131 

1847a    14    1129 

1505 

12 

1128 

1659 

12 

1125 

1773 

6 

1131    28 

1848     22    1128 

1506 

6 

1129 

51 

1659a 

12 

1125 

1774 

12 

1131 

1849a     8    1129 

1507 

6 

1129 

50 

1660 

6 

1125 

1774a 

12 

1131 

1850     18    1128 

1509 

5Vz 

1129 

1660a 

6 

1125 

1775 

8 

1132   216 

1851     4    1131 

1512 

b 

1129 

1661 

6 

1125 

1776 

10 

1132   217 

1853     12    1128 

1513 

10 

1134 

221 

1662 

6 

1125 

1777 

10 

1132   215 

1858     6    1131 

1513a 

10 

1134 

1662a 

6 

1125 

1778 

8 

1132   218 

1870     5V2  1128 

1514 

12 

1134 

1664 

4 

1125 

1778a 

10 

1132 

1876     5    1127 

1514a 

12 

1134 

1665 

6 

1125 

1779 

6 

1132 

1880     11    1131 

1515 

12 

1134 

1666 

12 

1125 

1779a 

12 

1132 

1881a    8    1133 

1515a 

12 

1134 

1667 

2 

1125 

1779b 

12 

1132 

1901    12    1135 

1515b 

12 

1134 

1668 

6 

1125 

1780 

9 

1132 

1951    16    1123 

1516 

10 

1127 

1668a 

b 

1125 

1780b 

12 

1132 

1985    12    1135 

1516a 

12 

1127 

1669 

8 

1125 

1781 

2 

1132 

2000    12    1134 

1517 

6 

1127 

1669a 

8 

1125 

1782 

8 

1132 

2001     18    1134 

1518 

12 

1128 

1670 

4 

1125 

1782a 

12 

1132 

2002     18    1119 

1519 

12 

1127 

1014 

1670a 

4 

1125 

1782a 

12r. 

1132 

2003     18    1126 

10141/2 

1670a 

6S1 

1125 

1782b 

12 

1132 

2004     18    1126 

1520 

6 

1127 

1670a 

6S2 

1125 

1783 

10 

1132 

2005     18    1125 

1521 

6 

1127 

1671 

5  1/2 

1126 

1783b 

12 

1132 

2006     18    1136   721 

1522 

6 

1134 

fe7 

1672 

6 

1126 

1788a 

12s. c. 

r.ll32 

2007     18    1124 

1523 

6 

1129 

47 

1673 

12 

1126 

1789a 

6s.c. 

r.ll32 

2008     18    1136   794 

1525 

12 

1129 

1674 

6 

1127 

1790 

3 

1132 

2008a    18    1136   794 

1526a 

12 

1133 

1675 

12 

1126 

1790a 

12 

1132 

2009     18    1135   796R 

1527 

18 

1135 

1676 

12 

1126 

1790b 

12 

1132 

2010     18    1135   796L 

1528a 

10 

1134 

1677 

12 

1125 

1791 

4 

1132 

2011     18    1136   795R 

1529a 

12 

1134 

1678 

12 

1126 

1791a 

12 

1132 

2012     18    1136   795L 

1530a 

14 

1134 

1679 

12 

1125 

1791b 

12 

1132 

3501    24    1127 

1531a 

24 

1134 

1679a 

12 

1125 

1792 

5 

1132 

3502    24    1126 

1554 

6 

1126 

1680 

6 

1125 

1792a 

12 

1132 

3503    24    1125 

1560 

6 

1126 

1681 

3 

1125 

1792b 

12 

1132 

3504    24    1119 

1568 

3 

1127 

1681a 

3 

1125 

1793 

51/z 

1132 

4501     26    1136  1101 

1569 

6 

1127 

1682 

6 

1125 

1793a 

12 

1132 

5001    28    1136  1302 

1570 

6 

1128 

1682a 

6 

1125 

1793b 

12 

1132 

7002    36    1136  1203 

1571 

6 

1127 

1683 

12 

1125 

1794 

10 

1132 

7003    36    1136 

1572 

b 

1128 

1683a 

12 

1125 

1795 

6 

1132 

Box  Heading  Matrix  Slides  ii4i 

1573 

b 

1128 

8 

1684 

10 

1126 

1796 

12 

1132 

Braces              11 38 

1574 

8 

1128 

401 

1685 

3 

1125 

1797a 

6s. C. 

r.ll32 

1575 

10 

1128 

205 

1685a 

6 

1125 

1799 

12 

1132 

Bracl<ets             1140 

1576a 

18 

1128 

1685b 

6 

1125 

1800 

6 

1132 

Fac-Simile  Signature  Slides  1141 

1577a 

24 

1128 

1686 

3 

1125 

1801 

5 

1134 

News  Dashes          1137 

1578a 

12 

1128 

1686a 

bs.c. 

1125 

1805 

.] 

1134 

Ornamental  Dashes       1139 

1579a 

18 

1128 

1686b 

6S.C, 

1125 

1810 

^, 

1134 

1580 

8 

1129 

403 

1687 

fa 

1126 

1815 

4 

1131 

Oxford  Rule  Dashes       1139 

1581 

8 

1129 

404 

1688 

6 

1126 

1815a 

6 

1131 

Tapered  Dashes         1137 

1584 

12 

1129 

503 

1689 

8 

1125 

1816 

512 

1131   120 

Vertical  Extension  Rules 

1585 

12 

1129 

504 

1691 

18 

1126 

1816a 

6 

1131 

(matrices)  1141 

XXXIII 


TRIANGLE  NUMBER  INDEX 

Matrices  are  marked  on  one  side  for  the  purpose  figure  on  the  right  indicates  the  name  of  the 

of  easy  identification  as  follows:  6A8,  6A10,  face  and   not   its   number.   Thus,   for   instance, 

8A  1  2,  etc.  The  triangle  is  a  reference  mark  and  10A8  does  not  mean   10  point  No.   8,  but   10 

has  nothing  whatever  to  do  with  the  identifica-  point  Caslon  with  Italic  and  Small  Caps;  8A12 

tion  of  the  font  and  face.  The  figure  on  the  left  does  not  mean  8  point  No.  1  2,  but  8  point  Chel- 

of  the  triangle  indicates  the  point  size  and  the  tenham  with  Italic  and  Small  Caps. 


PAGE 

PAGE 

PAGE 

PAGE 

PAGE 

PAGE 

4  Point 

5iA14 

923 

6A32 

806f 

6A182 

910 

6A338 

891b 

7A8 

156 

4A2 

193 

5JA18 

909 

6A34 

909 

6A186 

1058 

6A340 

889 

7A10 

708 

4A4 

1164 

5JA22 

909 

6A36 

924 

6A188 

880 

6A342 

891 

7A12 

911 

4A330 

889a 

5JA24 

806e 

6A42 

193 

6A192 

46 

6A344 

891a 

7A13 

906 

4A344 

891a 

5JA28 

922 

6A43 

825 

6A194 

719 

6A346 

890 

7A14 

702 

4A400 

890 

5iA32 

1070 

6A44 

924 

6A200 

729 

6A348 

891b 

7A15 

906 

5JA36 

1057 

6A45 

906 

6A202 

165 

6A350 

891a 

7A18 

910 

5iA38 

906 

6A46 

924 

6A204 

556 

6A358 

888a 

7A20 

924 

43^  Point 

5iA42 

535 

6A48 

923 

6A206 

556 

6A362 

958 

7A21 

906 

4iA2 

494 

55A44 

526 

6A49 

896 

6A208 

556 

6A364 

595 

7A22 

925 

5JA46 

923 

6A50 

1070 

6A210 

556 

6A366 

369 

7A23 

906 

55A48 

361 

6A53 

505 

6A212 

562 

6A368 

578 

7A24 

924 

5  Point 

5JA50 

351 

6A56 

896 

6A214 

562 

6A372 

452 

7A26 

910 

5A1 

906 

5JA52 

922 

6A57 

906 

6A216 

562 

6A376 

551 

7A27 

906 

5A2 

1068 

5JA54 

368 

6A58 

841 

6A218 

562 

6A378 

551 

7A28 

925 

5A4 

922 

5JA60 

730f 

6A59 

906 

6A220 

319 

6A380 

551 

7A30 

1070b 

5A6 

906 

5iA64 

535 

6A60 

923 

6A224 

127 

6A382 

551 

7A31 

906 

5A8 

1070a 

5JA66 

771 

6A62 

688 

6A226 

906 

6A384 

551 

7A38 

925 

5A10 

906 

5JA330 

889a 

6A66 

972 

6A232 

248 

6A386 

551 

7A40 

924 

5A14 

922 

5JA332 

888b 

6A70 

1058 

6A236 

564 

6A388 

771 

7A42 

684 

5A18 

1069 

5iA334 

891 

6A74 

924 

6A238 

564 

6A390 

766 

7A43 

906 

5A20 

701 

51A336 

889 

6A76 

1068 

6A240 

564 

6A392 

663 

7A46 

910 

5A24 

535 

5M338 

891b 

6A82 

923 

6A242 

564 

6A394 

105 

7A48 

709 

5A26 

526 

5JA340 

889 

6A86 

733 

6A244 

30 

6A396 

386 

7A50 

687 

5A28 

174 

5iA342 

891 

6A88 

923 

6A248 

560 

6A398 

376 

7A52 

906 

5A30 

701 

5^A344 

891a 

6A90 

709 

6A250 

22 

6A400 

890 

7A58 

925 

5A32 

361 

5JA348 

891b 

6A92 

708 

6A252 

560 

6A406 

892b 

7A60 

906 

5A34 

860 

5JA350 

891a 

6A94 

203 

6A254 

560 

6A410 

173 

7A62 

1059 

5A36 

368 

5JA358 

888a 

6A96 

784 

6A256 

558 

6A414 

555 

7A63 

806c 

5A38 

173 

5JA400 

890 

6A97 

806c 

6A258 

558 

6A416 

621 

7A66 

693 

5A330 

889a 

5iA406 

892b 

6A98 

3 

6A260 

558 

6A418 

806d 

7A74 

925 

5A334 

891 

55A460 

891 

6A100 

924 

6A262 

558 

6A420 

730f 

7A80 

203 

5A336 

889 

5JA524 

892b 

6A102 

713 

6A264 

36 

6A424 

730c 

7A86 

1058 

5A340 

889 

5JA536 

889 

6A110 

687 

6A268 

284 

6A426 

370b 

7A88 

194 

5A342 

891 

6A112 

709 

6A270 

560 

6A432 

923 

7A90 

684 

5A344 

891a 

6A114 

708 

6A274 

423 

6A434 

639 

7A92 

57 

5A348 

891b 

6  Point 

6A116 

906 

6A276 

298 

6A436 

649 

7A94 

46 

5A350 

891a 

6A1 

906 

6A118 

1058 

6A280 

266 

6A438 

888a 

7A96 

720 

5A356 

892b 

6A2 

677 

6A120 

806e 

6A286 

435 

6A440 

892a 

7A98 

910 

5A362 

957 

6A4 

910 

6A122 

1070a 

6A288 

536 

6A442 

643 

7A102 

692 

5A400 

890 

6A5 

906 

6A123 

896 

6A290 

868 

6A460 

891 

7A104 

30 

5A406 

892b 

6A6 

1070b 

6A124 

709 

6A296 

803 

6A524 

892b 

7A110 

22 

5A522 

892b 

6A8 

702 

6A125 

906 

6A298 

628 

6A536 

889 

7A118 

806f 

5A524 

892b 

6A10 

910 

6A128 

708 

6A300 

652 

7A120 

36 

6A12 

684 

6A132 

806j 

6A302 

527 

6'/2  Point 

7A122 

537 

6A14 

709 

6A150 

693 

6A304 

795 

6JA2 

536 

7A126 

529 

SVz  Point 

6A15 

906 

6A156 

74 

6A306 

449 

65A4 

924 

7A130 

803 

5JA1 

906 

6A16 

708 

6A158 

57 

6A310 

630 

6iA6 

527 

7A132 

795 

5kA2 

1057 

6A17 

861 

6A160 

174 

6A312 

654 

7A136 

362 

5JA4 

677 

6A18 

833 

6A162 

237b 

6A314 

362 

6V4  Point 

7A138 

363 

5iA5 

906 

6A19 

906 

6A164 

566 

6A320 

351 

63A2 

537 

7A140 

353 

5IA6 

909 

6A20 

1073a 

6A166 

566 

6A324 

923 

6IA4 

528 

7A142 

352 

5JA7 

906 

6A21 

906 

6A168 

566 

6A326 

585 

7A148 

729 

5iA8 

684 

6A22 

910 

6A170 

566 

6A328 

889a 

7  Point 

7A152 

694 

5iA9 

906 

6A24 

303 

6A172 

207 

6A330 

889a 

7A1 

906 

7A154 

175 

5JA10 

923 

6A28 

1057 

6A174 

825 

6A332 

888b 

7A2 

1059 

7A156 

370 

5IA11 

906 

6A29 

828 

6A176 

806e 

6A334 

891 

7A4 

678 

7A158 

369 

5iA12 

922 

6A30 

708 

6A180 

230 

6A336 

889 

7A6 

688 

7A162 

772 

XXXIV 


LINOTYPE 

TRIANGLE    NUMBER 

INDEX,  continued 

l'/'G.L 

PA&t 

PAGE 

PAGE 

PAGE 

PAGE 

7  Point,  cont'd 

8A32 

808 

8A192 

684 

8A426 

630 

9A74 

906 

10A34 

708 

7A164 

766 

8A34 

708 

8A194 

684 

8A428 

654 

9A78 

320 

10A36 

785 

7A166 

730g 
115 

8A36 

708 

8A196 

709 

8A432 

355 

9A82 

128 

10A38 

835 

7A168 

8A38 

912 

8A200 

708 

8A434 

806m 

9A84 

913 

10A40 

915 

7A170 

106 

8A39 

505 

8A204 

485 

8A436 

543 

9A90 

31 

10A41 

505 

7A172 

376 

8A40 

1059 

8A206 

496 

8A438 

888a 

9A94 

23 

10A42 

915 

7A174 

386 

8A41 

906 

8A208 

175 

8A440 

349 

9A100 

36 

10A43 

907 

7A176 

74 

8A42 

912 

8A210 

927 

8A442 

613 

9A102 

424 

10A44 

709 

7A180 

1166 

8A44 

912 

8A212 

721 

8A444 

348 

9A104 

47 

10A46 

842 

7A182 

1165 

8A46 

926 

8A214 

694 

8A446 

911 

9A110 

868 

10A48 

689 

7A184 

1164 

8A48 

912 

8A218 

709 

8A448 

595 

9A112 

539 

10A49 

908 

7A186 

925 

8A49 

828 

8A220 

911 

8A450 

578 

9A116 

532 

10A54 

915 

7A188 

806d 

8A50 

709 

8A222 

75 

8A452 

806n 

9A118 

804 

10A56 

928 

7A190 

1014 

8A52 

927 

8A224 

708 

8A454 

8O60 

9A122 

797 

10A58 

928 

7A330 

889a 

8A54 

688 

8A228 

729 

8A456 

585 

9A126 

779 

10A61 

907 

7A332 

888b 

8A56 

926 

8A230 

925 

8A460 

891 

9A128 

13 

10A63 

907 

7A334 

891 

8A58 

843 

8A234 

926 

8A462 

773 

9A130 

176 

10A64 

896 

7A336 

889 

8A59 

906 

8A240 

927 

8A464 

768 

9A132 

4 

10A66 

841 

7A338 

891b 

8A60 

237b 

8A242 

806k 

8A466 

115 

9  A 134 

356 

10A67 

962 

7A340 

889 

8A62 

927 

8A252 

911 

8A468 

370 

9A136 

364 

10A68 

928 

7A342 

891 

8A66 

927 

8A254 

207 

8A470 

107 

9A140 

614 

10A69 

504 

7A344 

891a 

8A69 

504 

8A260 

906 

8A476 

387 

9A142 

453 

10A70 

929 

7A346 

890 

8A70 

1070b 

8A262 

58 

8A478 

377 

9A144 

116 

10A72 

928 

7A348 

891b 

8A71 

861 

8A266 

566 

8A482 

730h 

9A146 

586 

10A74 

928 

7A350 

891a 

8A72 

926 

8A274 

30 

8A484 

311 

9A148 

596 

10A75 

907 

7A358 

888a 

8A74 

926 

8A280 

47 

8A488 

621 

9A150 

108 

10A76 

826 

7A362 

959 

8A82 

784 

8A282 

925 

8A490 

654 

9A152 

377 

10A78 

827 

7A400 

890 

8A85 

906 

8A284 

911 

8A492 

630 

9A154 

387 

10A80 

843 

7A406 

892b 

8A87 

822 

8A298 

165 

8A494 

663 

9A156 

769 

10A82 

238 

7A438 

888a 

8A88 

927 

8A306 

319 

8A496 

730d 

9A158 

773 

10A84 

928 

7A460 

891 

8A90 

926 

8A308 

211 

8A500 

925 

9A160 

1165 

10A86 

1074 

7A524 

892b 

8A91 

906 

8A312 

127 

8A502 

370b 

9A162 

730i 

10A88 

843 

7  A  536 

889 

8A92 

926 

8A314 

906 

8A504 

1167 

9A166 

977 

10A90 

842 

8A94 

842 

8A316 

912 

8A506 

606 

9A330 

889a 

10A91 

571 

8A96 

841 

8A318 

484 

8A508 

806d 

9A332 

888b 

10A92 

4 

7V2  Point 

8A98 

679 

8A320 

495 

8A510 

824 

9A334 

891 

10A94 

907 

8A100 

912 

8A328 

889a 

8A512 

639 

9A336 

889 

10A98 

715 

72A2 

538 

8A101 

906 

8A330 

889a 

8A516 

649 

9A338 

891b 

lOAlOl 

1065 

72A4 

530 

8A104 

926 

8A332 

888b 

8A518 

926 

9A340 

889 

10A102 

504 

7hAb 

363 

8A105 

906 

8A334 

891 

8A520 

643 

9A342 

891 

10A103 

907 

72A8 
7^10 

354 

8A108 

1074 

8A336 

889 

8A524 

892b 

9A344 

891a 

10A104 

915 

730g 

8A110 

843 

8A338 

891b 

8A536 

889 

9A346 

890 

10A106 

825 

72A16 

730c 

8A114 

3 

8A340 

889 

8AA18 

341 

9A348 

891b 

10A108 

844 

72A18 
7JA20 

772 
767 

8A116 
8A118 

714 
912 

8A342 
8A344 

891 
891a 

9A350 
9A358 

891a 
888a 

lOAllO 
10A112 

844 
204 

72A22 
7iA24 
7iA350 

974 

8A120 

844 

8A346 

890 

9  Point 

9A362 

961 

10A114 

928 

1014 

8A122 

203 

8A348 

891b 

9A2 

703 

9A400 

890 

10A115 

502 

891a 

8A124 

925 

8A350 

891a 

9A4 

304 

9A406 

892b 

10A116 

687 

8A126 

925 

8A358 

888a 

9A6 

927 

9A438 

888a 

10A120 

709 

8A128 

687 

8A360 

22 

9A8 

708 

9A460 

891 

10A122 

708 

7^/4  Point 

8A130 

906 

8A362 

960 

9A10 

834 

9A524 

892b 

10A123 

671 

7,'A2 

1167 

8A131 

906 

8A364 

38 

9A12 

689 

9A536 

889 

10A124 

928 

8A132 

926 

8A366 

36 

9A14 

927 

10A125 

569 

8A133 

906 

8A370 

284 

9A18 

157 

10A126 

825 

8  Point 

8A134 

709 

8A372 

423 

9A24 

927 

1  0  Point 

10A128 

709 

8A1 

906 

8A136 

708 

8A374 

298 

9A26 

927 

lOAl 

999 

10A130 

708 

8A2 

912 

8A138 

733 

8A378 

266 

9A28 

913 

10A2 

915 

10A131 

570 

8A4 

896 

8A140 

925 

8A380 

435 

9A29 

861 

10A4 

734 

10A132 

928 

8A5 

960 

8A144 

927 

8A382 

538 

9A32 

913 

10A6 

704 

10A134 

230 

8A6 

1060 

8A150 

825 

8A384 

531 

9A34 

927 

10A8 

157 

10A136 

928 

8A8 

1060 

8A151 

569 

8A386 

452 

9A36 

826 

lOAlO 

681 

10A137 

896 

8A10 

679 

8A152 

709 

8A392 

906 

9A38 

827 

10A12 

928 

10A138 

928 

8A12 

222 

8A154 

708 

8A394 

804 

9A40 

927 

10A14 

915 

10A139 

497 

8A13 

960 

8A156 

230 

8A396 

796 

9A42 

927 

10A16 

196 

10A142 

232 

8A14 

912 

8A157 

630 

8A400 

890 

9A44 

680 

10A18 

223 

10A143 

631 

8A16 

1059 

8A158 

806f 

8A406 

892b 

9A46 

222 

10A19 

907 

10A146 

880 

8A18 

303 

8A159 

906 

8A408 

868 

9A48 

709 

10A20 

914 

10A148 

248 

8A20 

833 

8A162 

925 

8A410 

628 

9A50 

827 

10A22 

1073b 

10A152 

929 

8A22 

911 

8A164 

1059 

8A412 

93 

9A52 

708 

10A23 

822 

10A153 

1004 

8A24 

156 

8A166 

232 

8A414 

652 

9A56 

687 

10A24 

304 

10A154 

485 

8A25 

906 

8A168 

926 

8A416 

778 

9A58 

195 

10A25 

906 

10A156 

496 

8A26 

194 

8A176 

248 

8A418 

449 

9A60 

695 

10A26 

915 

10A158 

709 

8A28 

1073a 

8A178 

927 

8A420 

12 

9A62 

722 

10A28 

914 

10A160 

914 

8A29 

906 

8A182 

911 

8A422 

927 

9A64 

729 

10A30 

914 

10A162 

1071 

8A30 

703 

8A190 

880 

8A424 

364 

9A72 

204 

10A32 

708 

10A166 

913 

XXXV 


LINOTYPE 

TRIANGLE    NUMBER 

INDEX,  continued 

PAGE 

PAGE 

PAGE 

PAGE 

PAGE 

PAGE 

1 0  Point,  cont'd 

10A390 

533 

11A58 

725 

12A21 

907 

12A153 

896 

12A338 

891b 

10A170 

709 

10A392 

539 

11A60 

729 

12A22 

198 

12A156 

930 

12A340 

889 

10A174 

708 

10A394 

809 

11A62 

955 

12A24 

930 

12A158 

907 

12A342 

891 

10A176 

928 

10A398 

614 

11A66 

842 

12A25 

828 

12A160 

60 

12A344 

891a 

10A178 

915 

10A400 

890 

11A68 

929 

12A26 

709 

12A163 

498 

12A346 

890 

10A180 

176 

10A406 

892b 

11A70 

204 

12A27 

907 

12A164 

837 

12A348 

891b 

10A182 

929 

10A408 

341 

11A72 

684 

12A28 

708 

12A166 

202 

12A350 

891a 

10A184 

723 

10A410 

754 

11A74 

321 

12A29 

571 

12A167 

632 

12A358 

888a 

10A186 

696 

10A412 

596 

11A76 

130 

12A30 

504 

12A168 

566 

12A362 

966 

10A190 

928 

10A414 

579 

11A78 

916 

12A33 

908 

12A169 

881 

12A364 

632 

10A192 

914 

10A416 

328 

11A84 

31 

12A37 

907 

12A175 

823 

12A366 

656 

10A194 

1072 

10A418 

586 

11A88 

23 

12A38 

896 

12A176 

32 

12A368 

540 

10A196 

76 

10A420 

881 

11A94 

36 

12A39 

907 

12A180 

907 

12A370 

808 

10A198 

708 

10A422 

312 

11A96 

426 

12A40 

690 

12A184 

880 

12A374 

782 

10A200 

729 

10A424 

117 

11A98 

268 

12A44 

931 

12A186 

49 

12A376 

615 

10A206 

928 

10A428 

109 

11A102 

454 

12A46 

239 

12A188 

929 

12A378 

366 

10A208 

207 

10A436 

388 

11A104 

197 

12A48 

843 

12A190 

726 

12A380 

917 

10A218 

59 

10A438 

888a 

11A106 

238 

12A50 

826 

12A194 

729 

12A382 

754 

10A224 

907 

10A440 

378 

11A108 

860 

12A51 

907 

12A196 

918 

12A384 

314 

10A226 

202 

10A444 

606 

IIAIIO 

781 

12A52 

844 

12A198 

212 

12A386 

562 

10A228 

566 

10A448 

770 

11A112 

167 

12A53 

907 

12A200 

809 

12A388 

597 

10A240 

31 

10A450 

774 

11A114 

450 

12A54 

841 

12A202 

808 

12A390 

580 

10A244 

998 

10A454 

622 

11A116 

15 

12A55 

907 

12A208 

556 

12A392 

328 

10A250 

48 

10A456 

655 

11A118 

545 

12A56 

930 

12A210 

556 

12A396 

558 

10A260 

166 

10A458 

631 

11A120 

358 

12A58 

1074 

12A212 

556 

12A398 

587 

10A266 

915 

10A460 

891 

11A122 

118 

12A60 

918 

12A214 

556 

12A400 

890 

10A268 

211 

10A462 

664 

11A124 

313 

12A62 

907 

12A216 

562 

12A406 

892b 

10A270 

809 

10A464 

881 

11A126 

379 

12A64 

205 

12A218 

562 

12A416 

551 

10A272 

808 

10A466 

371 

11A128 

365 

12A65 

511 

12A220 

562 

12A418 

551 

10A274 

320 

10A468 

730e 

11A130 

389 

12A66 

842 

12A222 

562 

12A420 

551 

10A276 

1064 

10A470 

730j 

11A132 

110 

12A67 

907 

12A224 

322 

12A422 

551 

10A280 

129 

10A472 

885 

11A134 

1166 

12A68 

5 

12A228 

880 

12A424 

551 

10A282 

907 

10A476 

640 

11A136 

881 

12A69 

1065 

12A234 

880 

12A426 

551 

10A284 

914 

10A478 

650 

11A138 

1166 

12A70 

687 

12A236 

132 

12A428 

551 

10A286 

484 

10A480 

881 

11A330 

889a 

12A73 

907 

12A238 

907 

12A432 

881 

10A288 

495 

10A482 

644 

11A332 

888b 

12A74 

168 

12A240 

917 

12A434 

551 

10A292 

23 

10A486 

1168 

11A334 

891 

12A75 

907 

12A242 

484 

12A436 

513 

10A296 

38 

10A494 

1169 

11A336 

889 

12A76 

825 

12A244 

495 

12A438 

888a 

10A298 

36 

10A522 

892b 

11A338 

891b 

12A77 

907 

12A250 

564 

12A440 

119 

10A302 

285 

10A524 

892b 

11A340 

889 

12A78 

709 

12A252 

564 

12A444 

111 

10A304 

425 

10A536 

889 

11A342 

891 

12A79 

862 

12A254 

564 

12A446 

881 

10A306 

299 

11A344 

891a 

12A80 

708 

12A256 

564 

12A452 

390 

10A312 

267 

101/2  Point 

10iA2 
10JA4 

11A346 

890 

12A81 

870 

12A258 

24 

12A454 

380 

10A314 

436 

11A348 

891b 

12A84 

709 

12A260 

39 

12A458 

607 

10A318 

453 

724 

11A350 

891a 

12A86 

708 

12A262 

698 

12A460 

891 

10A320 

739 

729 

11A358 

888a 

12A88 

231 

12A264 

809 

12A462 

555 

10A322 

805 

11A362 

964 

12A90 

930 

12A266 

558 

12A464 

665 

10A324 

798 

n  Point 

11A400 

890 

12A94 

232a 

12A268 

558 

12A466 

623 

10A326 

93 

11A2 

682 

11A406 

892b 

12A96 

716 

12A270 

558 

12A468 

656 

10A328 

889a 

11A4 

705 

11A438 

888a 

12A98 

249 

12A272 

558 

12A470 

632 

10A330 

889a 

11A6 

708 

HA460 

891 

12A100 

918 

12A274 

36 

12A472 

881 

10A332 

888b 

11A8 

916 

11A524 

892b 

12A102 

485 

12A276 

286 

12A474 

730k 

10A334 

891 

IIAIO 

786 

11A536 

889 

12A104 

496 

12A278 

427 

12A476 

641 

10A336 

889 

11A12 

158 

12A108 

1064 

12A280 

299 

12A478 

651 

10A338 

891b 

11A14 

305 

1  1  '/j  Point 

11JA2 
11JA4 

12A109 

569 

12A284 

269 

12A480 

1168 

10A340 

889 

11A16 

929 

12A114 

919 

12A286 

437 

12A486 

560 

10A342 

891 

11A17 

504 

787 

12A116 

709 

12A288 

455 

12A488 

372 

10A344 

891a 

11A18 

916 

131 

12A118 

708 

12A292 

739 

12A492 

645 

10A346 

890 

11A19 

907 

12A120 

177 

12A294 

869 

12A494 

1002 

10A348 

891b 

11A20 

955 

1 2  Point 

12A122 

1064 

12A296 

869 

12A502 

1169 

10A350 

891a 

11A22 

709 

12A2 

683 

12A124 

918 

12A298 

94 

12A524 

892b 

10A356 

892b 

11A23 

907 

12A4 

706 

12A125 

1065 

12A300 

813 

12A526 

889b 

10A358 

888a 

11A24 

836 

12A5 

907 

12A126 

709 

12A302 

628 

12A536 

889 

10A360 

813 

11A26 

708 

12A6 

735 

12A127 

671 

12A308 

652 

12A980 

342 

10A362 

963 

11A31 

907 

12A7 

907 

12A128 

918 

12A310 

805 

10A364 

628 

11A37 

861 

12A8 

708 

12A129 

502 

12A314 

16 

10A370 

652 

11A40 

907 

12A10 

788 

12A130 

1072 

12A316 

451 

1 4  Point 

10A374 

780 

11A42 

917 

12A11 

907 

12A132 

77 

12A318 

546 

14A1 

908 

10A376 

450 

11A44 

841 

12A12 

159 

12A134 

708 

12A320 

534 

14A2 

736 

10A378 

14 

11A45 

907 

12A13 

504 

12A136 

1071 

12A324 

799 

14A3 

506 

10A380 

365 

11A48 

223 

12A14 

306 

12A140 

208 

12A328 

889a 

14A4 

224 

10A382 

631 

11A49 

859 

12A16 

930 

12A141 

570 

12A330 

889a 

14A5 

504 

10A384 

655 

11A51 

859 

12A17 

505 

12A148 

930 

12A332 

888b 

14A7 

218b 

10A386 

357 

11A54 

827 

12A18 

224 

12A150 

844 

12A334 

891 

14A9 

513 

10A388 

544 

11A56 

697 

12A20 

1073b 

12A152 

930 

12A336 

889 

14A10 

932 

XXXVI 


LINOTYPE    TRIANGLE    NUMBER    \HDEX,  continued 


CAGE 

PAGE 

PAGE 

PAGE 

PAGE 

(-■/•GC 

1 4  Point,  cont'd 

14A140 

931 

16A9 

514 

18A85 

950 

18A255 

262b 

18A411 

1171 

14A11 

514 

14A142 

789 

16A15 

18 

18A86 

1151 

18A257 

652 

18A415 

1173 

14A12 

920 

14A146 

24 

16A17 

933 

18A87 

7 

18A259 

652 

18A417 

949 

14A13 

262b 

14A148 

1077 

16A21 

62 

18A88 

1153 

18A261 

879 

18A423 

668a 

14A14 

690 

14A150 

39 

16A338 

891b 

18A89 

845 

18A263 

271 

18A460 

891 

14A16 

908 

14A152 

36 

16A942 

344 

18A90 

1152 

18A265 

429 

14A20 

205 

14A154 

287 

18A91 

845 

18A267 

277 

14A22 

931 

14A156 

428 

18A92 

1152 

18A269 

432 

20  Point 

14A24 

709 

14A158 

300 

1  8  Point 

18A93 

1073 

18A271 

571 

20A3 

1078 

14A26 

1075 

14A162 

270 

18A1 

506 

18A95 

1079 

18A277 

439 

20  A5 

1076 

14A28 

932 

14A164 

438 

18A3 

514 

18A97 

240 

18A279 

442 

20A7 

871 

14A29 

908 

14A168 

865 

18A4 

1153 

18A99 

232b 

18A283 

89 

20A9 

225 

14A30 

239 

14A170 

456 

18A5 

513 

18A101 

63 

18A285 

569 

20A11 

845 

14A31 

908 

14A172 

740 

18A6 

657a 

18A103 

7 

18A287 

1080 

20A15 

935 

14A33 

511 

14A174 

94 

18A8 

634 

18A105 

832 

18A289 

513 

20A17 

227 

14A34 

160 

14A176 

814 

18A9 

218b 

18A109 

948 

18A295 

570 

20A25 

262b 

14A36 

687 

14A178 

547 

18A10 

1150 

18A111 

33 

18A297 

866 

20A27 

509 

14A38 

708 

14A180 

628 

18A11 

218b 

18A113 

1079 

18A299 

866 

20A346 

890 

14A39 

262b 

14A186 

652 

18A12 

1152 

18A115 

1078 

18A301 

457 

14A40 

231 

14A188 

17 

18A13 

262b 

18A117 

935 

18A303 

457 

14A42 

232a 

14A192 

451 

18A14 

1152 

18A119 

948 

18A305 

741 

21  Point 

14A43 

908 

14A194 

806 

18A15 

262c 

18A121 

934 

18A307 

748 

14A46 

249 

14A196 

633 

18A16 

617 

18A123 

200 

18A309 

95 

21A1 

1080a 

14A48 

485 

14A198 

657 

18A17 

262b 

18A125 

51 

18A311 

815 

21A3 

21A5 

21A7 

21A13 

21A15 

21A17 

21A19 

21A21 

21A25 

21A684 

135 

14A50 

496 

14A200 

616 

18A18 

1150 

18A129 

1075 

18A313 

95 

151 

14A52 

1064 

14A202 

919 

18A19 

262c 

18A131 

255 

18A315 

880 

673 

14A54 

178 

14A204 

755 

18A20 

599 

18A133 

213 

18A317 

818 

64 

14A56 

6 

14A206 

598 

18A22 

1153 

18A135 

67 

18A319 

880 

80 

14A58 

199 

14A208 

581 

18A24 

250 

18A139 

556 

18A321 

636 

86 

14A60 

920 

14A210 

328 

18A26 

1151 

18A141 

556 

18A323 

281 

458 

14A61 

487 

14A212 

588 

18A28 

589 

18A143 

558 

18A325 

668c 

816 

14A62 

709 

14A214 

367 

18A29 

514 

18A145 

556 

18A327 

756 

950 

14A64 

920 

14A216 

315 

18A30 

801 

18A147 

556 

18A328 

889a 

945 

14A65 

908 

14A218 

359 

18A33 

504 

18A149 

558 

18A329 

636 

14A66 

1073 

14A220 

800 

18A34 

495 

18A151 

562 

18A331 

647a 

14A67 

879 

14A222 

1002 

18A35 

1076 

18A155 

324 

18A333 

658 

22  Point 

14A68 

78 

14A224 

881 

18A36 

484 

18A157 

562 

18A334 

891 

22A1 

879 

14A70 

708 

14A228 

391 

18A37 

1080a 

18A163 

185 

18A335 

661a 

14A72 

709 

14A232 

112 

18A38 

1150 

18A165 

79 

18A336 

889 

14A74 

708 

14A234 

608 

18A41 

259 

18A167 

880 

18A337 

91 

24  Point 

14A76 

707 

14A236 

381 

18A42 

1157 

18A169 

134 

18A338 

891b 

24A3 

218b 

14A77 

908 

14A240 

624 

18A43 

510 

18A171 

151 

18A340 

889 

24A5 

262b 

14A78 

708 

14A242 

657 

18A44 

200 

18A173 

216 

18A343 

748 

24A6 

657b 

14A80 

1064 

14A244 

633 

18A46 

641b 

18A175 

244 

18A346 

890 

24A7 

262c 

14A83 

879 

14A246 

666 

18A47 

949 

18A177 

935 

18A347 

582 

24A8 

635 

14A84 

307 

14A250 

641a 

18A48 

618 

18A179 

499 

18A348 

891b 

24A10 

1150 

14A85 

672 

14A252 

372a 

18A50 

651b 

18A181 

945 

18A349 

600 

24A12 

1153 

14A86 

208 

14A256 

651a 

18A52 

609 

18A183 

1064 

18A350 

891a 

24A15 

218b 

14A87 

502 

14A258 

646 

18A53 

1078 

18A187 

86 

18A351 

334 

24A19 

514 

14A89 

879 

14A260 

1168 

18A54 

667 

18A191 

935 

18A353 

329 

24A20 

1172 

14A90 

932 

14A268 

1169 

18A55 

1078 

18A193 

728 

18A355 

345 

24A21 

506 

14A91 

879 

14A330 

889a 

18A56 

1153 

18A195 

790 

18A357 

609a 

24A22 

1153 

14A92 

908 

14A332 

888b 

18A57 

218a 

18A197 

790 

18A358 

888a 

24A23 

1076 

14A94 

61 

14A334 

891 

18A58 

1154 

18A199 

1079 

18A359 

668c 

24A24 

1152 

14A95 

569 

14A336 

889 

18A59 

251 

18A203 

91 

18A363 

1003 

24A25 

1080a 

14A97 

570 

14A338 

891b 

18A60 

1151 

18A207 

879 

18A365 

1002 

24A26 

1151 

14A102 

202 

14A340 

889 

18A62 

1154 

18A209 

234 

18A367 

512 

24A27 

1078 

14A106 

32 

14A342 

891 

18A63 

934 

18A211 

53 

18A369 

512 

24A29 

259 

14A108 

920 

14A344 

891a 

18A64 

624a 

18A213 

179 

18A371 

512 

24A31 

949 

14A112 

931 

14A346 

890 

18A65 

488 

18A215 

182 

18A373 

661a 

24A33 

949 

14A114 

50 

14A348 

891b 

18A66 

1151 

18A221 

35 

18A375 

647a 

24A34 

495 

14A117 

185 

14A350 

891a 

18A67 

832 

18A225 

25 

18A377 

636 

24A35 

948 

14A118 

838 

14A358 

888a 

18A68 

1155 

18A227 

933 

18A379 

589a 

24A36 

484 

14A119 

498 

14A362 

968 

18A70 

1156 

18A229 

27 

18A381 

589a 

24A37 

262b 

14A120 

727 

14A400 

890 

18A71 

511 

18A233 

40 

18A385 

161 

24A38 

1150 

14A121 

633 

14A406 

892b 

18A72 

1157 

18A235 

647a 

18A389 

236 

24A39 

514 

14A122 

729 

14A438 

888a 

18A74 

647 

18A237 

42 

18A391 

324c 

24A45 

513 

14A124 

212 

14A460 

891 

18A75 

1065 

18A239 

1077 

18A395 

658 

24A46 

641c 

14A126 

323 

14A524 

892b 

18A76 

956 

18A241 

1077 

18A397 

575 

24A47 

936 

14A128 

919 

14A941 

343 

18A78 

1158 

18A243 

288 

18A399 

474 

24A48 

618 

14A129 

575 

18A79 

708 

18A245 

293 

18A400 

890 

24A50 

651c 

14A132 

133 

18A80 

1150 

18A247 

1065 

18A401 

392 

24A51 

488 

14A134 

920 

1  6  Point 

18A81 

933 

18A249 

672 

18A403 

575 

24A53 

511 

14A136 

484 

16A5 

862 

18A82 

1002 

18A251 

503 

18A405 

829 

24A54 

668 

14A138 

495 

16A7 

870 

18A83 

863 

18A253 

879 

18A407 

1170 

24A55 

232b 

XXXVII 


LINOTYPE    TRIANGLE    NUMBER    \b^D  EX,  continued 


PAGE 

PAGE 

PAGE 

PAGE 

PAGE 

PAGE 

24  Point,  cont'd 

24A215 

503 

24^400 

890 

30A127 

1080a 

30A346 

890 

36A153 

659 

24A56 

1153 

24A217 

879 

24A460 

891 

30A129 

137 

30A348 

891b 

36A157 

256 

24A57 

218a 

24A221 

879 

30A131 

26 

30A350 

1006 

36A159 

1064 

24A58 

1154 

24A223 

271 

26  Point 

30A135 

27 

30A400 

890 

36A161 

575 

24A59 

509 

24A225 

277 

30A137 

940 

30A460 

891 

36A163 

1170 

24A61 

936 

24A227 

430 

26A1 

879 

30A139 

41 

36A165 

1172 

24A64 

624a 

24A229 

433 

26A346 

890 

30A141 

872 

36A167 

1171 

24A66 

1151 

24A235 

440 

30A143 

42 

34  Point 

36A169 

590 

24A67 

948 

24A237 

443 

27  Point 

30A145 

1077 

34A1 

510 

36A338 

891b 

24A68 

1155 

24A241 

89 

27A1 

81 

30A147 

1077 

34A3 

509 

36A346 

890 

24A69 

845 

24A243 

1080 

30A149 

262b 

34A5 

846 

36A348 

891b 

24A70 

1156 

24A249 

867 

30A151 

241 

34A9 

880 

36A350 

1006 

24A71 

846 

24A251 

867 

28  Point 

30A153 

70 

34A11 

335 

36A400 

890 

24A72 

1158 

24A255 

748 

28A1 

510 
509 

30A155 

289 

34A13 

330 

36A460 

891 

24A73 

64 

24A257 

96 

28A5 

30A157 

294 

34A15 

324d 

36A638 

942 

24A75 

240 

24A259 

741 

28A9 

871 
846 
863 
335 

30A159 

674 

34A17 

829 

24A76 

1151 

24A261 

817 

28A11 
28A17 

30A161 

272 

24A79 

728 

24A263 

818 

30A163 

278 

42  Point 

24A84 

1150 

24A265 

880 

28A19 

30A165 

430 

36  Point 

42A1 

510 

24A87 

936 

24A267 

628 

28A21 

330 

30A167 

433 

36A1 

509 

42A5 

846 

24A88 

1153 

24  A  269 

642 

28A23 

324d 

30A173 

440 

36A3 

510 

42A7 

513 

24A89 

1079 

24A271 

281 

28A25 

829 

30A175 

443 

36A5 

1076 

42A9 

262b 

24A90 

1152 

24A273 

91 

28A346 

890 

30A179 

262b 

36A9 

872 

42A11 

218b 

24A92 

1152 

24A275 

652 

30A181 

508 

36A13 

513 

42A13 

262b 

24A93 

937 

24A277 

668c 

30A183 

90 

36A15 

951 

42A15 

951 

24A95 

262a 

24A279 

756 

30  Point 

30A185 

1080 

36A17 

65 

42A21 

261 

24A99 

1065 

24A281 

636 

30A1 

509 

30A187 

233 

36A19 

846 

42A23 

1076 

24A101 

225 

24A283 

647a 

30  A3 

507 

30A193 

628 

36A23 

507 

42A25 

508 

24A107 

213 

24A285 

658 

30A5 

1076 

30A195 

281 

36A29 

951 

42A27 

508 

24A113 

70 

24A287 

661a 

30A7 

260 

30A197 

642 

36A31 

1079 

42A29 

873 

24A115 

52 

24A289 

748 

30A9 

1080a 

30A201 

940 

36A33 

241 

42A35 

1080 

24A117 

244 

24A291 

91 

30A13 

938 

30A203 

652 

36A41 

943 

42A37 

748 

24A119 

186 

24A295 

334 

30A19 

1080a 

30A205 

652 

36A43 

226 

42A39 

512 

24A121 

80 

24A297 

189 

30A23 

948 

30A207 

757 

36A45 

260 

42A41 

512 

24A123 

251 

24A299 

329 

30A25 

218b 

30A209 

637 

36A47 

941 

42A43 

512 

24A125 

152 

24A301 

582 

30A27 

845 

30A211 

647b 

36A55 

214 

42A45 

874 

24A127 

136 

24A303 

600 

30A29 

65 

30A213 

659 

36A59 

500 

42A47 

330a 

24A131 

216 

24A305 

668c 

30A31 

940 

30A215 

661b 

36A61 

489 

42A49 

335a 

24A133 

324 

24A309 

512 

30A33 

513 

30A217 

748 

36A65 

82 

42A51 

281 

24A135 

8 

24A311 

512 

30A37 

513 

30A219 

189 

36A67 

864 

42A53 

513 

24A137 

201 

24A313 

512 

30A39 

949 

30A221 

748 

36A73 

252 

42A55 

829 

24A139 

499 

24A315 

661a 

30A41 

1079 

30A223 

583 

36A79 

34 

42A57 

1173 

24A141 

1064 

24A317 

647a 

30A43 

262b 

30A225 

601 

36A81 

138 

42A59 

324e 

24A143 

1079 

24A319 

636 

30A47 

940 

30A227 

668c 

36A83 

26 

42A61 

1173 

24A145 

879 

24A321 

937 

30A51 

514 

30A231 

512 

36A85 

1080a 

24A147 

87 

24A323 

946 

30A53 

1065 

30A233 

512 

36A87 

41 

24A153 

938 

24A325 

1080b 

30A55 

226 

30A235 

512 

36A89 

674 

48  Point 

24A157 

1078 

24A327 

1080b 

30A57 

938 

30A237 

91 

36A91 

273 

48  A 1 

48A3 

48A9 

48A11 

48A13 

48A15 

48A17 

48A19 

48A21 

48A23 

48A687 

24A159 

227 

24A328 

889a 

30A59 

489 

30A239 

661b 

36A93 

431 

510 

24A161 

91 

24A329 

575 

30A67 

186 

30A241 

647b 

36A97 

441 

509 

24A165 

234 

24A331 

236 

30A69 

81 

30A243 

637 

36A99 

1080 

261 

24A167 

54 

24A333 

609a 

30A71 

252 

30A245 

939 

36A103 

628 

944 

24A169 
24A171 

68 
791 

24A334 
24A335 

891 
161 

30A75 
30A79 

218a 
97 

30A247 
30A249 

1080b 
1080b 

36A105 
36A109 

642 
652 

757 
335a 

24A173 

255 

24A336 

889 

30A83 

1078 

30A251 

668c 

36A111 

652 

330a 
335a 

24A175 

179 

24A338 

891b 

30A85 

939 

30A253 

237 

36A113 

748 

24A177 

182 

24A339 

392 

30A87 

91 

30A255 

161 

36A115 

637 

490 

24A179 

33 

24A345 

575 

30A89 

214 

30A261 

393 

36A117 

647b 

575 

24A181 

35 

24A346 

890 

30A91 

217 

30A265 

575 

36A119 

659 

944 

24A183 

937 

24A348 

891b 

30A93 

500 

30A269 

1064 

36A121 

661b 

24A185 

25 

24A349 

589b 

30A95 

245 

30A271 

589b 

36A123 

98 

54  Point 

24A187 

513 

24A350 

1006 

30A97 

228 

30A273 

509 

36A125 

757 

24A189 

27 

24A351 

474 

30A101 

235 

30A275 

575 

36A127 

583 

54A1 

510 

24A191 

262c 

24A353 

324c 

30A103 

54 

30A277 

609b 

36A129 

601 

54  A3 

330b 

24A193 

40 

24A355 

575 

30A105 

68 

30A279 

996 

36A131 

512 

54A5 

335b 

24A195 

262b 

24A358 

888a 

30A107 

791 

30A281 

659 

36A133 

512 

24A197 

42 

24A359 

829 

30A109 

52 

30A285 

575 

36A135 

512 

24A199 

1077 

24A361 

949 

30A111 

256 

30A287 

1170 

36A137 

289 

60  Point 

24A201 

]077 

24A363 

1170 

30A113 

180 

30A289 

1172 

36A139 

294 

60A1 

510 

24A205 

652 

24A367 

1171 

30A115 

183 

30A291 

1171 

36A143 

187 

60A3 

252 

24A207 

288 

24A369 

575 

30A119 

34 

30A332 

888b 

36A145 

90 

60A5 

509 

24A209 

293 

24A371 

668a 

30A121 

35 

30A336 

889 

36A147 

160 

60A7 

330b 

24A211 

673 

24A375 

658 

30A123 

87 

30A338 

891b 

36A149 

217 

60A9 

335b 

XXXVIII 


A-P-LTRIANGLE  NUMBER  INDEX 


PAGE 

PAGE 

PAGE 

P^GE 

PAGE 

PAGE 

1  8  Point 

30A1033 

668c 

42A1007 

88 

48A1024 

69 

60A1053 

476 

96A1003 

84 

18A1007 

88 

30A1034 

668c 

42A1008 

181 

48A1025 

99 

60A1054 

395 

96A1004 

637b 

18A1016 

144 

30A1035 

668c 

42A1009 

184 

48A1026 

101 

60A1055 

402 

96A1005 

647d 

18A1024 

69 

30A1041 

849 

42A1010 

242 

48A1027 

463 

60A1056 

610 

96A1010 

243 

18A1028 

466 

30A1044 

849 

42A1011 

246 

48A1028 

471 

60A1064 

482 

96A1012 

254 

18A1031 

749 

30A1045 

850 

42A1012 

253 

48A1030 

759 

60A1065 

479 

96A1023 

661 

18A1033 

668c 

30A1046 

851 

42A1013 

257 

48A1031 

752 

60A1069 

668c 

96A1025 

100 

18A1034 

668c 

30A1047 

850 

42A1014 

188 

48A1033 

668c 

60A1070 

668c 

96A1029 

337 

18A1035 

668c 

30A1053 

475 

42A1015 

139 

48A1034 

668c 

60A1071 

668c 

96A1032 

1175 

18A1041 

849 

30A1055 

400 

42A1016 

148 

48A1035 

668c 

60A1072 

591 

96A1033 

668c 

18A1044 

849 

30A1057 

854 

42A1017 

290 

48A1037 

583a 

96A1034 

668c 

18A1045 

850 

30A1058 

853 

42A1018 

295 

48A1038 

602 

72  Point 

96A1035 

668c 

18A1046 

851 

30A1059 

852 

42A1019 

274 

48A1040 

491 

72A1001 

746 

96A1037 

583b 

18A1047 

850 

30A1060 

853 

42A1020 

279 

48A1041 

849 

72A1002 

661c 

96A1038 

603 

18A1055 

399 

30A1062 

851 

42A1021 

215 

48A1045 

850 

72A1003 

83 

96A1039 

332 

18A1057 

854 

30A1064 

481 

42A1022 

218 

48A1046 

851 

72A1004 

637a 

96A1040 

492 

18A1058 

853 

30A1065 

478 

42A1023 

660 

48A1047 

850 

72A1005 

647c 

96A1049 

262 

18A1059 

852 

30A1066 

382 

42A1024 

69 

48A1053 

475 

72A1006 

66 

96A1053 

477 

18A1060 

853 

30A1068 

1175 

42A1025 

99 

48A1054 

395 

72A1007 

88 

96A1054 

397 

18A1061 

848 

30A1069 

668c 

42A1026 

101 

48A1055 

401 

72A1008 

181 

96A1056 

611 

18A1062 

851 

30A1070 

668c 

42A1027 

462 

48A1056 

610 

72A1009 

184 

96A1063 

480 

18A1064 

481 

30A1071 

668c 

42A1028 

470 

48A1057 

854 

72A1010 

242 

96A1064 

483 

18A1065 

478 

30A1074 

854 

42A1030 

758 

48A1058 

853 

72A1012 

253 

96A1076 

1174 

18A1066 

382 

30A1075 

852 

42A1031 

751 

48A1060 

853 

72A1014 

188 

96A1077 

1174 

18A1069 

668c 

42A1033 

668c 

48A1064 

482 

72A1015 

142 

18A1070 

668c 

36  Point 

42A1034 

668c 

48A1065 

479 

72A1016 

150 

1  20  Point 

18A1071 

668c 

36A1001 

742 

42A1035 

668c 

48A1069 

668c 

72A1017 

292 

120A1001 

747 

18A1074 

854 

36A1007 

88 

42A1037 

583a 

48A1070 

668c 

72A1019 

276 

120A1002 

661d 

18A1075 

852 

36A1008 

181 

42A1038 

602 

48A1071 

668c 

72A1021 

215 

120A1003 

84 

36A1009 

184 

42A1040 

491 

48A1072 

591 

72A1023 

660 

120A1004 

637b 

24  Point 

24A1007 
24A1016 
24A1024 
24A1026 
24A1027 
24A1028 
24A1031 
24A1033 
24A1034 

36A1011 

246 

42A1041 

849 

48A1073 

591 

72A1024 

1176 

120A1005 

647d 

36A1013 

257 

42A1044 

849 

48A1074 

854 

72A1025 

99 

120A1010 

243 

88 

36A1016 

147 

42A1045 

850 

72A1027 

465 

120A1012 

254 

145 
69 

36A1020 
36A1022 

279 
218 

42A1046 
42A1047 

851 
850 

54  Point 

54A1029 
54A1037 
54A1038 
54A1039 

336 

583a 
602 

72A1029 
72A1030 

336 
761 

120A1023 
120A1025 

661 
100 

101 
459 

36A1024 
36A1026 

69 
101 

42A1053 
42A1054 

475 
394 

72A1032 
72A1033 

1175 
668c 

120A1029 
120A1032 

338 
1175 

467 

36A1027 

461 

42A1055 

401 

72A1034 

668c 

120  A 1033 

668c 

749 

36A1028 

469 

42A1056 

610 

331 

72A1035 

668c 

120A1034 

668c 

668c 

36A1031 

750 

42A1057 

854 

72A1037 

583a 

120A1035 

668c 

668c 

36A1033 

668c 

42A1059 

852 

60  Point 

72A1038 

602 

120A1037 

583b 

24A1035 
24A1041 
24A1044 

668c 

36A1034 

668c 

42A1060 

853 

60A1001 

745 

72A1039 

331 

120A1038 

603 

849 

36A1035 

668c 

42A1061 

848 

60A1002 

661c 

72A1040 

492 

120A1039 

333 

849 

36A1041 

849 

42A1062 

851 

60A1003 

83 

72A1050 

493 

120A1040 

492 

24A1045 
24A1046 

850 

36A1044 

849 

42A1064 

481 

60A1004 

637a 

72A1053 

476 

120A1049 

262 

851 

36A1045 

850 

42A1065 

479 

60A1005 

647c 

72A1054 

396 

120A1053 

477 

24A1047 
24A1055 
24A1057 
24A1058 
24A1059 
24A1060 
24A1061 
24A1062 
24A1064 
24A1065 
24A1066 

850 

36A1046 

851 

42A1066 

383 

60A1006 

66 

72A1055 

402 

120A1054 

397 

399 

36A1047 

850 

42A1074 

854 

60A1007 

88 

72A1056 

610 

120A1056 

611 

854 

3feA1053 

475 

42A1075 

852 

60A1008 

181 

72A1064 

482 

120A1064 

483 

853 

36  A 1054 

394 

60A1009 

184 

72A1072 

591 

120A1076 

1174 

852 

36A1055 

400 

48  Point 

60A1010 

242 

120A1077 

1174 

853 

36A1056 

610 

48A1001 

744 

60A1012 

253 

84  Point 

848 

36A1057 

854 

48A1002 

661c 

60A1014 

188 

84A1002 

661d 

1  44  Point 

851 

36A1058 

853 

48A1003 

83 

60A1015 

141 

84A1003 

84 

144A1002 

661d 

481 

36A1059 

852 

48A1004 

637a 

60A1016 

1176 

84A1004 

637b 

144A1003 

84 

478 

36A1060 

853 

48A1005 

647c 

60A1017 

291 

84A1005 

647d 

144A1004 

637b 

382 

36A1061 

848 

48A1006 

66 

60A1018 

1176 

84A1015 

142 

144A1005 

647d 

24A1068 
24A1069 
24A1070 
24A1071 
24A1073 
24A1074 
24A1075 

1175 

36A1064 

481 

48A1007 

88 

60A1019 

275 

84A1023 

661 

144A1023 

661 

668c 

36A1065 

478 

48A1008 

181 

60A1021 

215 

84A1025 

100 

144A1025 

100 

668c 

36A1066 

383 

48A1009 

184 

60A1023 

660 

84A1029 

337 

144A1029 

338 

668c 

36A1069 

668c 

48A1010 

242 

60A1024 

1176 

84A1033 

668c 

144A1033 

668c 

591 

36A1070 

668c 

48A1011 

246 

60A1025 

99 

84A1034 

668c 

144A1034 

668c 

854 

36A1071 

668c 

48A1012 

253 

60A1026 

1176 

84A1035 

668c 

144A1035 

668c 

852 

36A1073 

591 

48A1013 

257 

60A1027 

464 

84A1037 

583b 

144A1037 

583b 

36A1074 

854 

48A1014 

188 

60A1029 

336 

84A1038 

603 

144A1038 

603 

30  Point 

36A1075 

852 

48A1015 

140 

60A1030 

760 

84A1039 

332 

144A1039 

333 

30A1001 

742 

48A1016 

149 

60A1033 

668c 

84A1049 

262 

144A1040 

493 

30A1007 

88 

42  Point 

48A1017 

290 

60A1034 

668c 

84A1053 

476 

144A1053 

477 

30A1016 

146 

42A1001 

743 

48A1018 

296 

60A1035 

668c 

84A1054 

396 

144A1054 

398 

30A1024 

69 

42A1002 

661c 

48A1019 

274 

60A1037 

583a 

84A1064 

482 

144A1056 

611 

30A1026 

101 

42A1003 

83 

48A1020 

280 

60A1038 

602 

144A1063 

480 

30A1027 

460 

42A1004 

637a 

48A1021 

215 

60A1039 

331 

96  Point 

144A1064 

483 

30A1028 

468 

42A1005 

647c 

48A1022 

218 

60A1040 

491 

96A1001 

747 

144A1076 

1174 

30A1031 

750 

42A1006 

66 

48A1023 

660 

60A1046 

851 

96A1002 

661d 

144A1077 

1174 

XXXIX 


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^ 
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^ 
^ 


ANTIQUE  No.  1-ABCDEFGHIJKLM 
NOPQRSTUVWXYZ-  EIGHT  SIZES 
LINO 


ABC 
G   H   I 

M  N  O 
S  T  U 
Y  Z  & 

4     5     6 


TYPE 

D  E  F 

J  K  L 

P  Q  R 

V  W  X 

1  2  3 

7  8  9 


ROMAN  AND  ITALIC  •  RANGE-SIX  TO 
TWENTY-FOUR  POINT  •  ANTIQUE  No.  1 
ABCDEFGHIJKLMNOPQRSTU 


^ 

^ 
^ 


^ 
^ 
^ 
^ 
^ 
^ 
^ 
^ 
^ 
^ 
^ 
^ 


^ 
^ 
^ 
^ 


Linotype  Antique  No.  1  stems  from  the  Old  Style  Antique  series  introduced 
by  Miller  and  Richards,  of  Edinburgh,  in  the  1850's.  It  quickly  became  popu- 
lar as  a  more  satisfactory  general-purpose  face  than  the  romans  in  vogue  at 
the  time  with  their  "protracted  hairlines  and  feeble  serifs." 

Today,  Linotype  Antique  No.  1  is  widely  used  for  many  varieties  of 
commercial  printing.  Its  even  color  and  firm  letter-design  insure  excep- 
tional printing  on  coated  paper;  it  is  invaluable  for  use  in  photogravure  and 
offset  reproduction,  or  whenever  a  screen  is  super-imposed  upon  the  type. 
In  this  instance  it  "stands  up,"  legible,  full-toned,  clear— when  so  many 
"thick  and  thin"  stroke  faces  pale  into  illegibility. 


MERGENTHALER  LINOTYPE   COMPANY 

Brooklyn,  New  York,  Chicago,  San  Francisco,  New  Orleans.  Canadian 
Linotype,  Limited,  Toronto.  Representatives  in  the  Principal  Cities  of  the  World. 


COMPARISON  OF  SIZES      ^^^^^^ 


6  Point  Antique  No.  1  with  Italic  (6A98)  Lower  case  alphabet.  97  points.  Figures,  .0484 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-make  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  oi  its  esthetic  design?  Why  do  the  pace-make  1234 

8  Point  Antique  No.  1  with  Italic  (8A114)  Lower  case  alphabet,  122  points.  Figures,  .0622 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  W  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  W  1234 

9  Point  Antique  Nn.  1  with  Italic  (9A132)  Lower  case  alphabet,  132  points.  Figures,  .0692 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  desig  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  desig  1234 

10  Point  Antique  No.  1  with  Italic  (10A92)  Lower  case  alphabet,  141  points.  Figures,  .0692 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  estlietic  1234 

12  Point  Antique  No.  1  with  Italic  (12A'j8)  Lower  case  alphabet.  165  points.  Figures,  .083 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  i  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  i  1234 

14  Point  Antique  No.  1  with  Italic  (14A56)  Lower  case  alphabet,  190  points.  Figures.  .0968 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  te  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  te  1234 

18  Point  Antique  No.  1  (18A103)  Lower  case  alphabet,  229  points.  Figures,  .1107 

HOW  IS  one  to  assess  and  evaluate  a  type  fac  12 

24  Point  Antique  No.  1   IJ4A135)  Lower  case  alphabet.  305  points.  Figures,  .15J2 

HOW  IS  one  to  assess  and  evalua  12 

18  Point  Antique  No.  1  Italic  (18A871  Lower  case  alphabet,  229  points.  Figures,  .1107 

HOW  IS  one  to  assess  and  evaluate  a  type  fac  12 


C     LINOTYPE^ 

LIST  OF  CHARACTERS 

in  Two-Letter  Fonts  With  ROMAN  and  ITALIC 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

12345  abcdefghijklmnopqrstuvwxyz  67890 

12345  abcdefghijklmnopqrstuvwxyz  67890 

,.:  ;?  \(\)*''-  —  JECE\b  .  ..         fiflffffifflaoe£$ 

,.:  ;?  .'(\)*"-  —  MCEtb  .  ..fiflffffifH3eoe£$ 

One-Letter  Italic  Logotypes 
FA    PA   TA    VA    WA    YA    Va   Ve   Vo   Wa   We   Wo   Ya   Ye   Yo   Tli   Wh 


^%.^^.%\  LINOTYPE  ANTIQUE  No.  1  ^^^^V^ 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TY 
WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF 
How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace-mak- 
ers in  the  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it  so  superla- 
tively pleasant  to  their  eyes?  Good  design  is  always 
practical  design.  And  what  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fitness  to  per- 
form its  work.  It  has  a  "heft"  and  balance  in  all  of 
its  parts  just  right  for  its  size,  as  any  good  tool  has. 
Your  good  chair  has  all  of  its  parts  made  nicely  to 
the  right  size  to  do  exactly  the  work  that  the  chair 
has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and 
weak,  no  waste  of  material  and  no  lack  of  strength. 
And,  beyond  that,  the  chair  may  have  been  made  by  a 
man  who  worked  out  in  it  his  sense  of  fine  shapes  and 
curves  and  proportions:  it  may  be,  actually,  a  work 
of  art.  The  same  thing  holds  for  shapes  of  letters. 
And  your  chair,  or  your  letter  (if  a  true  artist  made 
it)  will  have,  besides  its  good  looks,  a  suitability  to 
the  nth  degree  to  be  sat  in,  or  stamped  on  paper  and 
read.  That  explains,  in  a  way.  why  the  experts  rave 
over  the  fine  shapes  of  letters;  but  it  fails  to  explain 
wherein  the  shapes  are  fine.  If  you  seek  to  go  further 

How  is  one  to  assess  and  evaluate  a   type  face   in 
terms  of  its  esthetic  design?  Why  do  the  pace-mak- 


ISvIld) 


PE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIG 
PRINTING  RAVE  OVER  A  SPECIFIC  FACE  OF 
How  is  orie  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace-mak- 
ers in  the  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it  so  superla- 
tively pleasant  to  their  eyes?  Good  design  is  always 
practical  design.  And  what  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fitness  to  per- 
form its  work.  It  has  a  "heft"  and  balance  in  all  of 
its  parts  just  right  for  its  size,  as  any  good  tool  has. 
Your  good  chair  has  all  of  its  parts  made  nicely  to 
the  right  size  to  do  exactly  the  work  that  the  chair 
has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and 
weak,  no  waste  of  material  and  no  lack  of  strength. 
And,  beyond  that,  the  chair  may  have  been  made  by  a 
man  who  worked  out  in  it  his  sense  of  fine  shapes  and 
curves  and  proportions:  it  may  be,  actually,  a  work 
of  art.  The  same  thing  holds  for  shapes  of  letters. 
And  your  chair,  or  your  letter  (if  a  true  artist  made 
it)  will  have,  besides  its  good  looks,  a  suitability  to 
the  nth  degree  to  be  sat  in,  or  stamped  on  paper  and 
How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design.'  Why  do  the  pace-mak- 
I  <<»<■  /'..III/  IcaJi-d) 


Mat  I  i.r  III  joy 
IGAQ. 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZi& 

abcdefghijklmnopqrstuvwxyzfiflffffiffll234567890($£,. :  ;'-'?  !*t)  1234567890 
abcdeighijklmnopqrstuvwxyz{H){iaffll234567890($£ ..:;'-'?  !*  )i234s67Sgo 

latiun:  6A98.  Length  of  lower  case  alphabet,  y?  pL.iiits.  Figures,  .04S4.  Will  run  in  90  channel  layout.  Code  woni. 


6 

POINT 


<     LINO' 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS 
ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINT 


How  IS  ONE  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  type?  What  do 
they  see  in  it?  Why  is  it  so  superlatively 
pleasant  to  their  eyes?  Good  design  is  al- 
ways practical  design.  And  what  they  see  in 
a  good  type  design  is,  partly,  its  excellent 
practical  fitness  to  perform  its  work.  It  has 
a  "heft"  and  balance  in  all  of  its  parts  just 
right  for  its  size,  as  any  good  tool  has.  Your 
good  chair  has  all  of  its  parts  made  nicely 
to  the  right  size  to  do  exactly  the  work 
that  the  chair  has  to  do,  neither  clumsy  and 
thick,  nor  "skinny"  and  weak,  no  waste  of 
material  and  no  lack  of  strength.  And,  be- 
yond that,  the  chair  may  have  been  made  by 

How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design?  Why 

(solid) 


How  IS  ONE  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  type?  What  do 
they  see  in  it?  Why  is  it  so  superlatively 
pleasant  to  their  eyes?  Good  design  is  al- 
ways practical  design.  And  what  they  see  in 
a  good  type  design  is,  partly,  its  excellent 
practical  fitness  to  perform  its  work.  It  has 
a  "heft"  and  balance  in  all  of  its  parts  just 
right  for  its  size,  as  any  good  tool  has.  Your 
good  chair  has  all  of  its  parts  made  nicely 
to  the  right  size  to  do  exactly  the  work 
that  the  chair  has  to  do,  neither  clumsy  and 
thick,  nor  "skinny"  and  weak,  no  waste  of 
How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design?  Why 

I. .11,- /...I'll.'  Ircdrd) 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflffffiffil234567890($£„:;'-'?!*t)  1234567890 
abcdefghijklmnopqrstuvwxyzfif]ffifiH11234567890($£..: ;'-'?>*  )i234s6y890 

Sfrcial  Snuill  Cat'! 

Habcdefghijklmnopqrstuvwxyz&H 
Habcdefghijklmnopqrstvvwxyz&H 


8 

POINT 


Matrix  Iiiformatioii :  8An4.  Length  of  lower 
word.  IGEK. 


:ase  aliih;ibet.   \^2  points.   Figures 


Will  run  in  90  channel  layout.  Code 


^^^^^\  LINOTYPE  ANTIQUE  No.  1 


POINT 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF 
ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART 


How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of 
printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it 
so  superlatively  pleasant  to  their  eyes? 
Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design 
is,  partly,  its  excellent  practical  fitness 
to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for 
its  size,  as  any  good  tool  has.  Your  good 

How  is  one  to  assess  and  evaluate  a  type 
face  in   terms   of  its  esthetic  design? 

(solid) 


How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of 
printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it 
so  superlatively  pleasant  to  their  eyes? 
Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design 
is,  partly,  its  excellent  practical  fitness 
to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for 
How  is  one  to  assess  and  evaluate  a  type 
face  in   terms   of  its  esthetic   design? 

(otic  point  leaded) 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflffffiffll234567890($£,. : ;'-'?  !*t)  1234567890 
abcdefghijklmnopqrstuvwxyzfiflifffifHl2S4567890($£,.:;'-'?.'*i)i  234567890 

Matrix  Information :  9A132.  Length  of  lower  case  alphabet,  132  points.  Figures,  .0692.  Will  run  in  90  channel  layout.  Code 
word.  ZARAT. 


-('""LINDTYPE""«> 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TER 
OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  TH 


10 

POINT 


How  IS  ONE  to  assess  and  evaluate  a 
type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant 
to  their  eyes?  Good  design  is  always 
practical  design.  And  what  they  see 
in  a  good  type  design  is,  partly,  its  ex- 
cellent practical  fitness  to  perform  its 
work.  It  has  a  "heft"  and  balance  in 
all  of  its  parts  just  right  for  its  size,  as 

How  is  one  to  assess  and  evaluate  a 
type  face  in  terms  of  its  esthetic  de- 

(  solid) 


HOW  IS  ONE  to  assess  and  evaluate  a 
type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant 
to  their  eyes?  Good  design  is  always 
practical  design.  And  what  they  see 
in  a  good  type  design  is,  partly,  its  ex- 
cellent practical  fitness  to  perform  its 
work.  It  has  a  "heft"  and  balance  in 

How  is  one  to  assess  and  evaluate  a 
type  face  in  terms  of  its  esthetic  de- 

( one  point  leaded) 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflffffiffll234567890($£,. : ;'-'?  !*t)  1234567890 
abcdefghijklmnopqrstuvwxyzfififffEfEl234567890($£,.: ;'-'?!*  )i23456j890 

Special  Sina!!  Caps 

HABCDEFGHIJKLMNOPQRSTUVWXYZ&H 
HABCDEFGHIJKLMNOPQRSTUVWXYZ&H 

Matrix  Information :  10/\92.  Length  of  lower  case  alphabet.  141  points.    Figures.  .0692.  Will  run  in  90  channel  layout.  Code 
w(]rd.  IGER. 


4 


LINOTYPE  ANTIQUE  No.  1   ^^^^^^^ 


POINT 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE 
IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  P 
How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  es-  jo 

thetic  design?  Why  do  the  pace-makers  in  the  art  of  printing  rave 
over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  design  is  always  prac- 
tical design.  And  what  they  see  in  a  good  type  design  is,  partly,  its 
excellent  practical  fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has. 
Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to 
do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and 
thick,  nor  "skinny"  and  weak,  no  waste  of  material  and  no  lack  of 
strength.  And,  beyond  that,  the  chair  may  have  been  made  by  a 
man  who  worked  out  in  it  his  sense  of  fine  shapes  and  curves  and 
proportions:  it  may  be,  actually,  a  work  of  art.  The  same  thing 
holds  for  shapes  of  letters.  And  your  chair,  or  your  letter  (if  a  true 
artist  made  it)  will  have,  besides  its  good  looks,  a  suitability  to  the 
nth  degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That  ex- 
plains, in  a  way,  why  the  experts  rave  over  the  fine  shapes  of  let- 
ters ;  but  it  fails  to  explain  wherein  the  shapes  are  fine.  If  you  seek 
to  go  further  with  the  inquiry,  theories  will  be  your  only  answer. 
Here  is  a  theory  that  the  proponent  thinks  may  have  sense  in  it: 
Fine  type  letters  were,  in  the  first  place,  copies  of  fine  written  let- 
ters. Fine  written  letters  were  fine  because  they  were  produced  in 
the  most  direct  and  simple  way  by  a  tool  in  the  hands  of  a  person 
expert  in  its  use,  by  a  person,  moreover,  who  was  an  artist  (i.e.,  a 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  es- 
thetic design?  Why  do  the  pace-makers  in  the  art  of  printing  rave 
over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so 

(fu'o  l^oin!  leaded) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflffffiffll23456  ($£,.: ;'-'  ?  !='=t)  123456 
abcdefghijklmnopqrstuvwxyzhfiffffiffll23456($ £,.:;'-?!  Y)  123456 

special  Small  Caps 

Habcdefghijklmnopqrstuvwxyz&H 
Habcdefghijklmnopqrstuvwxyz&H 

Matrix  Inionnatioit :  l.'A68.  Length  of  lower  case  alphabet.  165  points.  Figures,  .(IX.i.  Will  nni  in  'M  d).uincl  l.iyovit.  Code  word, 
IGIL. 


5 


^^^^V^  LINOTYPE  ANTIQUE  No.  1   ^^^^^^ 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYP 
FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WH 
14  HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of 
POINT  its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of 
printing  rave  over  a  specific  face  of  type?  What  do  they 
see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes? 
Good  design  is  always  practical  design.  And  what  they  see 
in  a  good  type  design  is,  partly,  its  excellent  practical  fit- 
ness to  perform  its  w^ork.  It  has  a  "heft"  and  balance  in  all 
of  its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your 
good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to 
do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy 
and  thick,  nor  "skinny"  and  weak,  no  waste  of  material  and 
no  lack  of  strength.  And,  beyond  that,  the  chair  may  have 
been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine 
shapes  and  curves  and  proportions:  it  may  be,  actually,  a 
work  of  art.  The  same  thing  holds  for  shapes  of  letters. 
And  your  chair,  or  your  letter  (if  a  true  artist  made  it)  will 
have,  besides  its  good  looks,  a  suitability  to  the  22th  degree 
to  be  sat  in,  or  stamped  on  paper  and  read.  That  explains, 
in  a  way,  why  the  experts  rave  over  the  fine  shapes  o  1234 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of 
its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of 
printing  rave  over  a  specific  face  of  type?  What  do  th  1234 


(t7vo  point  leaded ) 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdef  ghi  jklmnopqrstuvwxyzfiflff  ffiffl  ($£,.:;'-'?!  *t)  1 234 
abcdefghijklmnopqrstuvwxyzfiflffffiffl($£, .:;'-?!''  )1234 

Special  Small  Caps 

HABCDEFGHIJKLMNOPQRSTUVWXYZ&H 
HABCDEFGHIJKLMNOPQRSTUVWXYZ&H 

Matrix  Infonnation:  14A56.  Length  of  lower  case  alphabet,  190  points.   Figures.   .0968.  Will  run  in  90  channel  layout.  Code 
word.  IGIS. 


^^^^^^   LINOTYPE  ANTIQUE  No.  1   ^^^^^^ 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A 
How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  de- 
sign is  always  practical  design.  And  what  they 
see  in  a  good  type  design  is,  partly,  its  excellent 


(thirr  p,ni:l  h-njcd) 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflffffiffl 
1234567890  ($,.:;*-?!)  1234567890  M 

Matrix  I  nlnrmatinn :  I8A103.  I-eiiyth  of  I.iwer  <asc  ulrhaljet.  229  points.   riKiires.  .1107.  Will  run  in  90  <h.nnifl  I.iyc.ut.  Code 
«..r(l,  K.JA. 


C     LINOTYPE     ' 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A 
How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  de- 
sign is  always  practical  design.  And  what  they 

(three  point  leaded  I 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflffffifH 
1234567890  ($,.: ;'-?!)  1234367890 

Matrix  Iiiforwaliinir  1SAS7.  LeiiKlli  of  lower  case  .ilphaliel.  ::•>  p,.iiits.  FiKiires.  .1107.  Will  Min  in  ''o  Ji.innel  layout.  Code 
word,   Ilil.l. 


i8 

POINT 


i8 

POINT 


7 


LINOTYPE  ANTIQUE  No.  1  ^^^^^^ 


HOW  IS  ONE  TO  ASSESS  AND  EV 
24     How  is  one  to  assess  and  evaluate  a 

POINT 

type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the 
printing  art  rave  over  a  specific  face 
of  type?  What  do  they  see  in  it?  Why 
is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practi- 
cal design.  And  what  they  see  in  any 
good  type  design  is,  partly,  its  excel- 
lent practical  ability  to  perform  its 
work.  It  has  a  ''heft''  and  balance  in 
all  of  its  parts  just  right  for  its  size, 
as  any  good  tool  has.  Your  chair  has 


(six  point  leaded) 


ABCDEFGHIJKLMNOPQRSTUV 

WXYZ&  1234567890 

abcdefghijklmnopqrstuvwxyz 

Matrix  Information  :  24A135.  Length  of  lower  case  alphabet.  305  points.    Figures,  .1522.  Will  run  in   Display  Linotypes.  72 
channel  layout ;  also  lower  case  except  m  and  w  in  cap  channels  of  90  channel  magazine.  Code  word.  IGKE. 


8 


LINOTYPE 
BASKERVILLE 


LiNoi^  TK  Haskfrvii-I-k  is  a  ^vci^hl-lor-wci^hl  and  ciuac-Ioi- 
ciir\c  copy  of  Jolm  Baskcr\'illc's  (clcljuaicd  priiuin^  lyix.-.  Tlie 
pallcrn  lor  ihc  cuain,<;  is  a  complete  loiU  ot  (appioximalely)  i  | 
j)oiiU.  cast  Iroin  Baskci  \  illc's  o\vn  matrices— cxlunncd  at  Paris. 
France,  in  i()2().  Modilications  ol  the  two  letter  italic,  to  fil  llie 
needs  ol  machine  placement,  ha\e  been  performed  symixilheli- 
c  ally,  ^vith  an  apprec  iation  ol  the  subtleties  ol  the  original.  I  he 
oiK'-lcllcy  ildlic  is  a  lailhlul  reproduction  ol  the  original.  It  is 
important  to  ])oinl  out  that  Linoty|)e  Ikiskerxille  is  not  an 
"adajitation"— it  is  a  vcx'iiud. 

There  is  no  need  to  ballast  this  anuounc  ement  with  a  catalog 
of  John  Basker\  ille's  achie\  ement  as  printer  and  type-loiuider  — 
the  beauty  and  le.gibility  of  the  type  itself  is  ^vei^ghl  enough.  The 
greatest  honor  that  Mergenthalei  I  ,inot\'pe  Clompany  can  |)ay  to 
iiasker\  ille  is  to  make  his  excellent  design  axailable  to  all  users 
of  1  anotype  composilion. 

(■LINOTYPE   0 


M  1 . RC;  K  N T n  .\  I . K  R    LI  \ ( ) T^'  V  V.    COM  PA N  Y 

HRCJOKIAN.   M-.W   YORK 

\KW  \()RK  c.nv,  c:ii  ic:.\(.c).  s.\.\   i- k.\  xci  sea).  xi:\v  orikans 
CANADIAN   LI  NO  r'N  im:,  I,  I  m  I  r  k  I).   I  o  R(  )  n  r( ).  c:ANAn,\ 

ll('pirsiiil<ilivi^  III  llii  I'liiKijiiil  Cilirs  iij  I  III-  l\  III  III 


LIST   OF   CHARACTERS   AVAILABLE    IN    TWO-LETTER    FONTS 
WITH    ITALIC   AND    SMALL  CAPS 

ABCDEFGHIJKLMNOPORSTUVWXYZ 
ABCDEFGHIJKLMNOPQRSrUl'WXYZ 

ABCDEFGHIJKLMNOPQRSTUV\VXVZ 

1 2^^45       abcdefghijklmnopqrstiivwxyz 
VBCDE       abcdejghijklmnopqrstxivivxyz 

,.:;?!  (I  )  *  "  -  _  ^  GE  Tb  &  £  $  .  .  . 

, .  s  ;  /*  /  A  I  Q  o  '  '  —  AL  CE  tb  N  £v  I.        .  . 

12345       Z&::()flffiffl$2eoe       GyHqo 
72575        v&:(  )ftlliffl$ce(e       OyS^jo 


67890 

FGRTO 
ft  fl  ff  til  ffl 

//  V  //  ^v  M 


U  1 


8  74 


V2  V%  Ya  Vs    H  J  K  X  Z  &  ^  CE   @ 


t :  .^  II 


SWASH    CHARACTERS 

J  K  N  T  Y  Qu  a  Qu  d 

Made  in  all  >i/es  and  included  in  all  fonts 


MODERNIZED    FIGURES 

1234567890       1234567S90 

Made  in  all  point  sizes,  and  will  be  substituted 

for  those  regularly  furnished  with  a  font,  if  so 

ordered,  or  they  may  be  added  as  an  extra 


C  «  LINOTYPE  "0 

ONE-LETTER    ROMAN    LOGOTYPES 
SPECIAL   NO.    S 

la  te  to  tr  ts  ft  tu  ty  tla  tie  fio  fir  tfs  tin  tly  t,  f.  fl  tl',  tf.  ft-  f  fF 

ONE-LETTER     ITALIC    LOGOTYPES 

FA  PA  TA  VA  WA  YA  Th  Wh 

SPECIAL    NO,    5 

./  J'  Jl  ^'^  ^'Jlf  ^'J  4  M  ij  ijf  kj  If  mf  nj  oj  off  pj  yj  sj  tf  uf  ujff  yf  If  Oj  Off 

ONE-LETTER    ITALIC 
S''ECIAL   NO.   5 

a  bcdefgh  ijklmnopqrs  I  iivn  >xyz 


SPECIAL  TWO-LETTER    SMALL   CAPS 
SPECIAL   NO.    5 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
AliCDEFGHIJKLMNOPQRSTUVWXYZtb' 

TWO-LETTER    LOGOTYPES 

K  P  Ta  Te  To  Tr  Tu  T\v  Ty  T  Va  Ve  Vo  V  Wa  We  Wi  Wo  Wr  W  Ya  Ye  Yo  Y 

F.  P.  Fa  Fe  Fo  Fr  Fn  Fw  Fy  F.  Va  Ve  Vo  V  Wa  We  Wi  Wo  Wr  W  Ya  Ye  Yo  Y 

fa  fe  to  fr  ts  ft  fu  fy  tfa  tie  ffo  ttr  tls  i\u  fly  f.  f  f-  fT.  tf.  ft-  f  fl^ 

fa  fe  fo  fr  fs  ft  fn  fy  ffa  (fe  ffo  ffr  ffs  ffn  ffyfff  ff,  jf  if  f  ff 


10 


LINOTYPE   RASKKRVILLE 

(U)inJ>a)i.son  oj  Sizes 


8  Piiint  Baskerville  witli  Italic  and  Small  Caps  (XA-l-O)  Lower  case  alplialict.  106  pnints,  I-'isures.  .05?3 

HOW  IS  ONE  lO  ASSESS  AiND  EVALUATE  A  TYPE  FACE  EN  I  ERMS  OF  11  S  ES  FHF:  FlC  1)E 

How  is  one  lo  assess  and  e\'aluate  a  type  face  in  terms  of  iis  esthetic  desij^ii?  Why  do  the  paee-makeis 
in  the  ail  of  piinlin;^  lave  over  a  specific  face  of  ty|)e?  Wiiat  do  tliey  see  in  ili-  Why  is  il  so  snpeihi- 
tivcly  pleasant  to  their  e)es?  Ciootl  tlesi^n  is  always  practical  design.  And  what  they  see  in  a  goo  i;!';| 
HOW  IS  ONE  lo  as.sc.ys  and  cvaludic  a  lypc  face  in  Itritis  (if  ils  cslhdic  dcsii^iif'  \V}i\  do  Ihr  pac  vi!t;i) 

y  Piiint  Baikerville  with  Italic  and  Small  Caps  (9AI28)  Lower  case  alphaliet,  llfi  pniiits.  Figures,  .06^2 

HOW  IS  ONE  TO  ASSESS  AND  EVALUyVTE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTH 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  oi  its  estiietic  design?  VVliy  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  tliey  see  in  it?  Why  is  it 
so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  practical  design.  And  what  12.'54 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  estiietic  design?  Why  do  vbcu 

10  Puint  Baskerville  with  Italic  and  Small  Caps  (inAJ78)  Lower  case  alphabet.  12')  points.  Fisiures.  .0'.9J 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  IT 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do 
the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they 
see  in  it?  Why  is  it  scj  superlatively  pleasant  to  their  eyes?  Good  design  is  always  1234 
HO  \V IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  vi5cu 

11  Point  Baskerville  with  Italic  and  Small  Caps  (1IA116)  Lower  case  alphabet,  139  points.  FiKiires,  .0761 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  EACE  IN  TERMS 

How  is  one  to  asses,s  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type? 
What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  d  vbcd 

11  Point  Baskerville  with  Italic  and  Small  Caps  (1JA314)  Lower  case  alpbal)et.  149  points.  FiKUres.  .O.S.I 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TE 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  ils  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of 
type?  What  clo  they  see  in  it?  Wliy  is  it  so  superlatively  pleasant  to  th  1 234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthet  vbcd 

14  Point  Baskerville  with  Italic  and  Small  Caps  (14A188)  Lower  case  alphabet,  170  iiomls.  FiKures.  .n9i„S 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FAG 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  es- 
thetic design?  Why  do  the  pace-makers  in  the  art  of  printing  rave 
over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  1234 
HOW  IS  ONE  to  assess  and  evnhiatc  a  type  face  iri  terms  of  vbcd 

Ifi  P.iint  Baskerville  (ir.Al.^l  Lower  case  alphabet.  2llO  points.  FiKiircs.  .1107 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYP 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of 
its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of 
printing  rave  over  a  specific  face  of  type?  What  do  1 234 


11 


8   POINT  LINOTYPE   BASKERVILLE 


How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers 
in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superla- 
tively pleasant  to  their  eyes?  Good  design  is  always  practical  design?  And  what  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has  a  "heft" and  balance  in  all  of 
its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to 
the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny" 
and  weak,  no  waste  of  material  and  no  lack  of  strength.  And,  beyond  that,  the  chair  may  have  been 
made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and  curves  and  proportions:  it  may  be, 
actually,  a  work  of  art.  The  saine  thing  holds  for  shapes  of  letters.  And  yoiu'  chair,  or  your  letter  (if 
a  true  artist  made  it)  will  have,  besides  its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or 
stamped  on  paper  and  read.  That  explains,  in  a  way,  why  the  experts  rave  over  the  fine  shapes  of  let- 
ters; but  it  fails  to  explain  wherein  the  shapes  are  fine.  If  you  seek  to  go  further  with  the  inquiry, 
theories  will  be  your  otrly  answer.  Here  is  a  theory  that  the  proponent  thinks  inay  have  sense  in  it: 
Fine  type  letters  were,  in  the  first  place,  copies  of  fine  written  letters.  Fine  written  letters  were  fine 
because  they  were  produced  in  the  most  direct  and  simple  way  by  a  tool  in  the  hands  of  a  person  ex- 
pert in  its  use,  by  a  person,  moreover,  who  was  an  artist,  i.e.,  a  person  equipped  to  inake  sound  judg- 
ments about  lines,  curves,  proportions,  etc.  The  artist  of  that  moment  when  printing  was  invented 
who  furnished  the  fine  written  patterns  for  type  was  (luckily  for  printing)  working  at  the  top  notch 
of  a  fine  tradition  of  calligraphy.  He  was  making  sound  judgments  about  lines  and  curves  and  pro- 
portions of  letters.  He  had  resurrected  an  ancient  distinguished  style  of  writing  and  had  added  to  it 
the  quality  of  his  own  fine  taste.  His  letters  flowed  from  his  pen  easily  and  simply,  without  any  tricks 
or  affectations  or  extraneous  embellishments.  He  was  simple  enough  and  artist  enough  to  let  the  im- 
plement itself  (and  his  facile  hand)  shape  the  product.  The  fine  qualities  of  this  artist's  letter-forms 
were  carried  over  into  the  metal  types  and  sealed  up  there,  like  butterflies  in  amber.  It  is  argued, 
however,  that  the  ascription  of  beauty  to  type  letters  by  this  route  {i.e.,  via  the  standards  of  calligra- 
phy) is  false  logic.  If  the  natural  and  simple  and  tastefully  controlled  use  of  an  implement  produces  a 
fine  result,  why  not  start  with  the  process  of  founding  type  instead  of  with  the  process  of  writing  with 
a  pen?  Why  not  cut  punches  and  strike  matrices  and  cast  type  metal  simply  and  naturally  and  taste- 
fully, and  make  types  that  reflect  a  suitable  artistic  use  of  the  process  of  typefounding?  I  think  that 
the  argument  is  esthetically  sound.  There  is  no  common  opinion  about  the  legibility  or  grace  or  vigor 
of  various  type  faces  that  can  be  quoted  as  authority.  One  man's  opinion  is  as  good  as  another's.  Each 
commentator  has  his  own  pet  designs  and  his  reasons  for  thinking  them  good.  Some  kind  of  comment 
on  the  various  type  faces  in  general  use  is  desirable  in  this  section  merely  for  the  purpose  of  bringing 
the  argument  to  a  focus  on  actual  examples.  The  comment  that  follows  has  no  more  weight  than  this: 
it  is  what  a  given  person  thinks  about  the  type  faces  that  are  at  the  service  of  advertisers  in  this  coun- 

(one  and  two  point  leaded) 

The  same  thing  holds Jor  shapes  of  letters.  .J  tid  your  chair,  or  your  letter  (ija  true  artist  rnade  it)  will  have,  besides 
its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That  explains,  in  a  way, 
why  the  experts  rave  over  the  jine  shapes  oj letters;  but  itjaUs  to  explain  wherein  the  shapes  arejine.  Ijyou  seek  to 
go  further  ivith  the  inquiry,  theories  will  be  your  only  answer.  Here  is  a  theory  that  the  proponent  thinks  may  have 

(One-Letter  Italic) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHI]KLMNOPQ^RSTUVWXYZ& 

ABCDEFCHIJKLMNOI>QRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflffffiffl  1234567890  (!£.. :;'-'?!*!)  1234567890 

abcdefghijklninopqrstuvwxyzfifigfjifp  i2).f$6y8po  ($£,.:;'-'?!  \)  1234567890 

TRUE-CUT  SMALL  CAPS,  SPECIAL  NO.  5 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ONE-LETTER  ITALIC,  SPECIAL  NO.  S 

abcdej ghijklmnopqrstuxfwxyz 

Matrix  Information :  8A420.  Lower  case  alphabet.  106  points.  Figures,  .0553;  comma,  period  and  thin  space.  .0277.  Runs  in  90 
channel  magazine.  7  point  alignment.  Code  word,  ZABOH. 


12 


9  POINT  LINOTYPE   BASKERVILLE 


How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Wliy  is  it 
so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  practical  design.  And  what  they 
see  in  a  good  type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair 
has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to 
do,  neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of  material  and  no  lack  of 
strength.  And,  beyond  that,  the  chair  may  have  been  made  by  a  man  who  worked  out  in  it  his 
sense  of  fine  shapes  and  curves  and  proportions:  it  may  be,  actually,  a  work  of  art.  The  same 
thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  letter  (if  a  true  artist  made  it)  will 
have,  besides  its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped  on  paper 
and  read.  That  explains,  in  a  way,  why  the  experts  rave  over  the  fine  shapes  of  letters;  but  it 
fails  to  explain  wherein  the  shapes  are  fine.  If  you  seek  to  go  furtiier  with  the  inquiry,  the- 
ories will  be  your  only  answer.  Here  is  a  theory  that  the  proponent  thinks  may  have  sense  in 
it:  Fine  type  letters  were,  in  the  first  place,  copies  of  fine  written  letters.  Fine  written  letters 
were  fine  because  they  were  produced  in  the  most  direct  and  simple  way  by  a  tool  in  the 
hands  of  a  person  expert  in  its  use,  by  a  person,  moreover,  who  was  an  artist,  i.e.,  a  person 
equipped  to  make  sound  judgments  about  lines,  curves,  proportions,  etc.  The  artist  of  that 
moment  when  printing  was  invented  who  furnished  the  fine  written  patterns  for  type  was 
(luckily  for  printing)  working  at  the  top  notch  of  a  fine  tradition  of  calligraphy.  He  was  mak- 
ing sound  judgments  about  lines  and  curves  and  proportions  of  letters.  He  had  resurrected 
an  ancient  distinguished  style  of  writing  and  had  added  to  it  the  quality  of  his  own  fine  taste. 
His  letters  flowed  from  his  pen  easily  and  simply,  without  any  tricks  or  affectations  or  extra- 
neous embellishments.  He  was  simple  enough  and  artist  enough  to  let  the  implement  itself 
(and  his  facile  hand)  shape  the  product.  The  fine  qualities  of  this  artist's  letter-forms  were 
carried  over  into  the  metal  types  and  sealed  up  there  like  butterflies  in  amber.  It  is  argued, 
however,  that  the  ascription  of  beauty  to  type  letters  by  this  route  {i.e.,  via  the  standards  of 
calligraphy)  is  false  logic.  If  the  natural  and  simple  and  tastefully  controlled  use  of  an  imple- 
ment produces  a  fine  result,  why  not  start  with  the  process  of  founding  type  instead  of  with 
the  process  of  writing  with  a  pen?  Why  not  cut  punches  and  strike  matrices  and  cast  type 
metal  simply  and  naturally  and  tastefully,  and  make  types  that  reflect  a  suitable  artistic  use  of 
the  process  of  typefoimding?  I  think  that  the  argument  is  esthetically  sound.  There  is  no  com- 
mon opinion  about  the  legibility  or  grace  or  vigor  of  various  type  faces  that  can  be  quoted  as 
authority.  One  man's  opinion  is  as  good  as  another's.  Each  commentator  has  his  own  pet 
designs  and  his  own  reasons  for  thinking  them  good.  Some  kind  of  comment  on  the  various 

llie  same  thing  liolds  for  shapes  of  letters.  And  your  chair,  or  your  letter  (if  a  true  artist  made 
it)  will  have,  besides  its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped  on 
paper  and  read.  That  explains,  in  a  ivay,  why  the  experts  rave  over  the  fine  shapes  of  letters; 
but  it  fails  to  explai?!  wJierein  the  shapes  are  fine.  If  you  seek  to  go  further  with  the  inquiry. 

(one  and  two  l^oint  leaded) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&: 
ABCDEFGHIJKLMNOPQRSTUV  WXYZ& 

ABCDEIGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflflfl^iffl  1 234567890 ($£..::'-'?! *t)  12.S4567890 
abcdefghijklmnopqrstiwwxyzfififjffiffli2}456y8'()o($£,.:;'-'?'.   f)  123-^567890 

Matrix  Information:  9A128.  Lower  case  alphabet.  116  points.  FiKures,  .0622;  comma,  period  and  thin  space.  .0311.  Runs  in  90 
channel  magazine.  8  point  alignment.  Code  word,  ZAFAII. 


13 


10   POINT  LINOTYPE   BASKERVILLE 


How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do 
the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they 
see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  prac- 
tical design.  And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent  practical 
fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for 
its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the 
right  size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick, 
nor  "skinny"  and  weak,  no  waste  of  material  and  no  lack  of  strength.  And,  beyond 
that,  the  chair  may  have  been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine 
shapes  and  curves  and  proportions:  it  may  be,  actually,  a  work  of  art.  The  same 
thing  holds  for  shapes  of  letters.  And  your  chair,  or  yoiu"  letter  (if  a  true  artist  made 
it)  will  have,  besides  its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or 
stamped  on  paper  and  read.  That  explains,  in  a  way,  why  the  experts  rave  over  the 
fine  shapes  of  letters;  but  it  fails  to  explain  wherein  the  shapes  are  fine.  If  you  seek  to 
go  further  with  the  inquiry,  theories  will  be  your  only  answer.  Here  is  a  theory  that 
the  proponent  thinks  may  have  sense  in  it:  Fine  type  letters  were,  in  the  first  place, 
copies  of  fine  written  letters.  Fine  written  letters  were  fine  because  they  were  pro- 
duced in  the  most  direct  and  simple  way  by  a  tool  in  the  hands  of  a  person  expert  in 
its  use,  by  a  person,  moreover,  who  was  an  artist,  i.e.,  a  person  equipped  to  make 
sound  judgments  about  lines,  curves,  proportions,  etc.  The  artist  of  that  moment 
when  printing  was  invented  who  furnished  the  fine  written  patterns  for  type  was 
(luckily  for  printing)  working  at  the  top  notch  of  a  fine  tradition  of  calligraphy.  He 
was  making  sound  judgments  about  lines  and  curves  and  proportions  of  letters.  He 
had  resurrected  an  ancient  distinguished  style  of  writing  and  had  added  to  it  the 
quality  of  his  own  fine  taste.  His  letters  flowed  from  his  pen  easily  and  simply,  with- 

(two  anil  three  i^oint  leaded) 

The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  letter  (if  a  true  artist  made 
it)  will  have,  besides  its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped  on 
paper  and  read.  That  explains,  in  a  way,  why  the  experts  rave  over  the  fine  shapes  of  letters;  but 
it  Jails  to  explain  wherein  the  shapes  are  fine.  If  you  seek  to  go  further  with  the  inquiry,  theories 

(One-Letter  Italic} 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&: 
AB  CDEFGHIJKLMNOPQRS  TUVWX  YZ& 

ABCDEFGHIJKLMNOPQRSTUVWXyZ& 

abcdefghijklmnopqrstuvwxyzfiflfffliffl  1234567890  ($£,.:;'-'?!*!)  1234567890 
abcdefghijklmnopqrstuvwxyzfiftffffiffl  i2^^^6ySc,o  ($£,.:;'-'?'.   \)  1234567890 

TRUE-CUT  SMALL. CAPS,  SPECIAL  NO.  5 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ONE-LETTER  ITALIC,  SPECIAL  NO.  5 

abcdefghijklmnopqrstuxnuxyz 

Matrix  Injormation:  10A378.  Lower  case  alphabet.  129  points.  Figures,  .0692;  comma,  period  and  thin  space,  .0346.  Runs  in  90 
channel  magazine.  9  point  alignment.  Code  word,  ZOEC. 


u 


11    POINT   LINOTYPE   BASKI.RVILLE 


How  IS  ONE  to  assess  and  evaluate  a  tyj)e  face  in  terms  of  its  estlietic  (lesi;4ii?r 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  sj)eeiric  lace  of  type? 
What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good 
design  is  ahuays  praclical  design.  And  what  they  see  in  a  good  type  design  is, 
partly,  its  excellent  practical  fitness  to  periorni  its  work.  It  has  a  "heft"and  bal- 
ance in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  <  hair 
has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly  the  work  that  the 
chair  has  to  do,  neither  clumsy  and  thick,  nor  "skiiniy"and  weak,  no  waste  of 
material  and  no  lack  of  strength.  And,  beyond  that,  the  chair  may  have  been 
made  by  a  man  who  worked  out  in  it  his  sense  of  hne  shapes  and  curves  and  jno- 
portions:  it  may  be,  actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of 
letters.  And  your  chair,  or  your  letter  (if  a  true  artist  made  it)  will  have,  besides 
its  good  looks,  a  suitability  to  the  /;th  degree  to  be  sat  in,  or  stamped  on  paper 
and  read.  That  explains,  in  a  way,  why  the  experts  rave  over  the  fine  shapes  of 
letters;  but  it  fails  to  explain  wherein  the  shapes  are  fine.  If  you  seek  to  go  fur- 
ther with  the  inquiry,  theories  will  be  your  only  answer.  Here  is  a  theory  that 
the  proponent  thinks  may  have  sense  in  it:  Fine  type  letters  were,  in  the  first 
place,  copies  of  fine  written  letters.  Fine  written  letters  were  fine  because  they 
were  produced  in  the  most  direct  and  simple  way  by  a  tool  in  the  hands  of  a  per- 
son expert  in  its  use,  by  a  person,  moreover,  who  was  an  artist,  i.e.,  a  person 
equipped  to  make  sound  judgments  about  lines,  curves,  proportions,  etc.  The 
artist  of  that  moment  when  printing  was  invented  who  furnished  the  fine  writ- 

(Iwa  and  lliK-r  f'-iiil  Icadidi 

The  same  thing  hohlsjor  shapes  of  letters.  A  nd  your  chair,  or  your  letter  (ij  a  true  artist 
made  it)  will  have,  besides  its  good  looks,  a  suitability  to  the  nth  degree  to  he  sat  in,  or 
stamped  on  paper  ayul  read.  That  explains,  in  a  ivay,  ivhy  the  experts  rave  over  thejine 
shapes  oj  letters;  hut  it  jails  to  explain  wherein  the  shapes  arejirw.  Ijyou  seek  to  gojur- 

(Oiic-Lcllrr  Italic) 

ABCDEFGHI}KLMNOPQRSTUVWXYZc<: 
A  B  CDEFGHIJKLMNOPQRST  U  V  WX  YZh- 

ABCDEFGHIJKLMNOPQRSTUVWXVZK 

abcdefghijklmnopqrstuvwxyzfiflffniflfli2.'?45r)789o(.f£,. :;'-'?!*!)  12.^4507890 
abcdefghi}khn)iop(jrstuvwxyzlillfjfji[jii2)^]y6y8cjo($£,.:;'-'r!  \)  1234567 S90 

TRUE-CUT  SMALL  CAPS,  SPECIAL  NO.  5 

ABCDEFGHIJKLMNOPQRSTUVVVXYZ& 

ONE-LETTER   ITALIC,  SPECIAL  NO,  S 


abcdefghijklmnopqrstuvicxyz 


Matrix  Information :  llAllfi-  I.nwer  case  nlpli-iliet.  l.TO  points.  FiKiircs.  .07fil  ;  ccimnia.  pcrind  aiul  thin  space.  .038.  Runs  in  9(1 
channel  magazine.  10  point  alignment.  Code  word.  ZOMU. 


15 


12   POINT  LINOTYPE   BASKERVILLE 

How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design.  And  what  they  see  in  a  good 
type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its  work.  It 
has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good 
tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to 
do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor 
"skinny"and  weak,  no  waste  of  material  and  no  lack  of  strength.  And,  be- 
yond that,  the  chair  may  have  been  made  by  a  man  who  worked  out  in  it 
his  sense  of  fine  shapes  and  curves  and  proportions:  it  may  be,  actually,  a 
work  of  art.  The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or 
your  letter  (if  a  true  artist  made  it)  will  have,  besides  its  good  looks,  a  suit- 
ability to  the  nth  degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That 
explains,  in  a  way,  why  the  experts  rave  over  the  fine  shapes  of  letters;  but 
it  fails  to  explain  wherein  the  shapes  are  fine.  If  you  seek  to  go  further  with 
the  inquiry,  theories  will  be  your  only  answer.  Here  is  a  theory  that  the 
proponent  thinks  may  have  sense  in  it:  Fine  type  letters  were,  in  the  first 
place,  copies  of  fine  written  letters.  Fine  written  letters  were  fine  because 

(two  and  jottr  point  leaded) 

The  same  thing  holds  jor  shapes  of  letters.  And  your  chair,  or  your  letter  (if  a  true 
artist  made  it)  will  have,  besides  its  good  looks,  a  suitability  to  the  nth  degree  to  be 
sat  in,  or  stamped  on  paper  and  read.  That  explains,  in  a  way,  ivhy  the  experts  rave 
over  the  fine  shapes  of  letters;  but  it  fails  to  explain  wherein  the  shapes  are  fine.  If 

(One-Letter  Italic) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&: 
A  B  CDEFGHIJKLMNOPQRST  U  V  WX  YZb 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflffffiffl  12345678  ($£,.:;'-'?! *t)  12345678 
abcdefghijklmnopqrstuvwxyzfiflffffjffl  12^4^678  ($£,.:;'-'?!  \)  12345678 

TRUE-CUT  SMALL  CAPS,  SPECIAL  NO.  5 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ONE-LETTER  ITALIC,  SPECIAL  NO.  5 

abcdefghijklmnopqrstuvwxyz 

Matrix-  Information:  12A314.  Lower  case  alphaliet,  149  points.  Figures.  .083;  comma,  period  and  thin  space.  .0415.  Runs  in  90 
channel  magazine.  11  point  alignment.  Code  word,  ZUJA. 


16 


14   POINT   LINOTYPE   BASKERVILLE 

How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  es- 
thetic design?  Why  do  the  pace-makers  in  the  art  of  printing  rave 
over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  design  is  always  prac- 
tical design.  And  what  they  see  in  a  good  type  design  is,  partly, 
its  excellent  practical  fitness  to  perform  its  work.  It  has  a  "heft" 
and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good 
tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the 
right  size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither 
clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of  material 
and  no  lack  of  strength.  And,  beyond  that,  the  chair  may  have 
been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes 
and  curves  and  proportions:  it  may  be,  actually,  a  work  of  art. 
The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or 
your  letter  (if  a  true  artist  made  it)  will  have,  besides  its  good 
looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped  on 
paper  and  read.  That  explains,  in  a  way,  why  the  experts  rave 
over  the  fine  shapes  of  letters;  but  it  fails  to  explain  wherein  the 
shapes  are  fine.  If  you  seek  to  go  further  with  the  inquiry,  the- 

The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or 
your  letter  (if  a  true  artist  made  it)  ivill  have,  besides  its  good 
looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped  on 
paper  and  read.  That  explains,  in  a  way,  why  the  experts  rave  over 

(two  and  four  Point  leaded) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&: 
ABCDEFGHIJKLMNOPQRSTUVWXYZh' 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflffffiffl  1234  (|;£,.:;'-'?!*t)  1234 
abcdefghijklmnopqrstuviuxyzfiflfjffifjl  12^4  ($£^- ■>'-'-'     )  ^23-/ 

Matrix  Information:  14A188.  Lower  case  alphahet.  17n  point";.  Figures.  .nor,.H:  cnmnia.  periml  anrl  tliin  space.  .niS4.  Kiius  in  'JO 
channel  magazine.  13  point  alignment.  Code  word,  ZYNA. 


\ 


17 


16   POINT  LINOTYPE   BASKERVILLE 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  o£ 
its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of 
printing  rave  over  a  specific  face  of  type?  What  do  they 
see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes? 
Good  design  is  always  practical  design.  And  what  they 
see  in  a  good  type  design  is,  partly,  its  excellent  prac- 
tical fitness  to  perform  its  work.  It  has  a  "heft"  and  bal- 
ance in  all  of  its  parts  just  right  for  its  size,  as  any  good 
tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely 
to  the  right  size  to  do  exactly  the  work  that  the  chair  has 
to  do,  neither  clumsy  and  thick,  nor  "skinny"  and  weak, 
no  waste  of  material  and  no  lack  of  strength.  And,  be- 
yond that,  the  chair  may  have  been  made  by  a  man 
who  worked  out  in  it  his  sense  of  fine  shapes  and  curves 
and  proportions:  it  may  be,  actually,  a  work  of  art.  The 
same  thing  holds  for  shapes  of  letters.  And  your  chair, 
or  your  letter  (if  a  true  artist  made  it)  will  have,  besides 
its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in, 
or  stamped  on  paper  and  read.  That  explains,  in  a  way, 

(four  point  leaded) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&: 

abcdefghijklmnopqrstuvwxyzfiflffffiffl 
1234567890  1234567890 

ONE-LETTER    LOGOTYPES 

fafefofrfsftfufyffaffefFofFrfFsfrufFyf,f.f-fF,fF.ff-ffF 

Matrix  Information:  16A15.  Lower  case  alphabet,  200  points.  FiRtires.  .1107;  comma,  period  and  thin  space.  .0553.  Runs  in  90 
channel  magazine.  15  point  alignment.  Code  word,  ZABAD. 


18 


THE  LINOTYPE 

BENEDICTINE 
FAMILY 

BENEDICTINE  BOOK 

BENEDICTINE 
BENEDICTINE   BOLD 


The  Benedictine  Family  was  derived  from  the  types  of  Plato 
de  Benedictis,  the  Fifteenth  Century  ItaHan  master  printer, 
who  produced  thirty-three  distinguished  books  between  the 
years  1487  and  1495.  Its  origin  is  the  period  of  the  Italian 
Renaissance,  when  artists  and  craftsmen  produced  beautiful 
things  under  the  inspiration  of  classic  architecture,  fine  manu- 
scripts and  paintings  from  the  great  storehouses  of  art.  Bene- 
dictine's classic  character  is  particularly  apparent  in  its  capitals. 
The  lower  case  letter  characteristics  were  derived  from  manu- 
script technique.  The  success  of  Linotype  designers  in  preserv- 
ing the  beauty  and  distinction  of  the  original  letter  characters, 
yet  adapting  them  to  contemporary  printing  needs,  is  apparent 
at  a  glance.  Three  weights;  a  full  range  of  point  sizes. 

F^HNDTYPE^ 

MERGENTHALER    LINOTYPE    COMPANY 

BROOKLYN.   NEW  YORK 

New  York  City,  Chicago.  San  Francisco.  New  Orleans 

Canadian  Linotype.  Limited.  Toronto 

Representatives  in  the  Principal  Cities  of  the  World 


BENEDICTINE  BOOK  . 

With  Italic  and  Small  Caps 

6  Point  (6A25ni  Lower  case  alphabet.  84  points.  Figures.  .0553 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  TH 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of  print  in  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design^  Why  do  the  pace-makers  in  the  art  of  pri  VBCD 

7  Point  (7A110>  Lower  case  alphabet.  95  points.  Figures.  .0622 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN 
How  IS  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  12  34 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design!'  Why  do  the  pace-makers  in  VBCD 

8  Point  (8A360)  Lower  case  alphabet.  109  points.  Figures.  .0692 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETI 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design .''  Why  do  the  pacc-m  1  234 
HOW  IS  ONE  to  assess  and  evaluate  a  mpe  face  in  terms  of  its  esthetic  design.''  Whi^  do  tfie  pace  VBCD 

9  Point  (9A94I  Lower  case  alphabet.  1  JO  points.  Figures.  .0761 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS 
How  is  one  to  assess  antd  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  th  1  234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  i"  Why  d  VBCD 

10  Point  (10A292)  Lower  case  alphabet.  1,35  points.  Figures.  .083 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  ?  W  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  VBCD 

11  Point  (llASK)  lower  case  alphabet.  148  points.  Figures.  .0899 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TE 
How  is  one  to  assess  anci  evaluate  a  type  face  in  terms  of  its  esthetic  des  1  234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  VBCD 

12  Point  (12A25g)  Lower  case  alphabet,  161  points.  Figures.  .0968 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  I 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthet  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  es  VBCD 

14  I'oint  (MAMh)  Lower  case  alphabet.  184  points.  Figures,  .1107 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  it  1 234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  VBCD 

18  Point  (18A225)  Lower  case  alphabet.  224  points.  Figures.  .1107 

HOW  IS  one  to  assess  and  evaluate  a  type  face  in  12 

24  Point  (24AI85)  .  Lower  case  alphabet.  296  points.  Figure  1.  .1383:  2  to  0.  .166 

HOW  IS  one  to  assess  and  evaluate  a  12 

30  Point  (.WA131)  Lower  case  alphabet.  349  points.  Figure  1,  .166;  2  to  0.  .2075 

HOW  IS  one  to  assess  and  eva  1 2 

36  Point  (36A8,1)  Lower  case  alphabet.  417  points.  Figure  1.  .1937;  2  to  0,  .249 

HOW  IS  one  to  assess  an  12 


20 


BENEDICTINE  BOOK  ITALIC 

IX  Point   Italic  (I.HA-'-"J)  I  ..\v,-r  ca-ic  .iliihalict ,  J2f  points    iMsjures.  .11117 

HOW  IS  one  to  assess  and  evaluate  a  type  face  in  12 

34  Pdiiil   Italic  (J-4AIX'-'I  I,u\v.t  ta-i-  alplialn-l .  J'M  p., ml,.    I'lmii,-  i.  .  I  ix  i ;  J  tci  I),  .ll.f, 

HOW  IS  one  to  assess  and  evaluate  12 

.III  TuiTit   Italic   ItllAI'^l  I...wfr  lase  alplialjfl.    !(..'p,.nits     I- murt-  1 .  .  I  (,t. :  J  t,.  (I.  ._'U7.^ 

HOW  IS  one  to  assess  and  ev  12 

(LINOTYPE   ') 


LIST   OF    CHARACTERS    IN    TWO-LETTER    FONTS 
WITH    ITALIC    AND    SMALL   CAPS 

ABCDEFGHIJKLMNOPQRSTUVWXYZ 
ABCDEFGHIJKLMNOPQRSTUVWXYZ 

ABCDEFGHIJKLMNOPQRSTUVWXYZ 
12345  abcdefghijklmnopqrstuvwxyz  67890 

VBCDE  abcdefghijklmnopqrstuVLUxyz  FGRTJ 

,.:;?!(|)*"-— ^CElb&;£$  fiflffffifflsoe 

,  .  s  ;  .'^  /  A  I  Q  o  '  ' Ai  Gi  tb  N  £  P  L        .   .     fi  \  ff  w  m  k  H 

12345  Z  «:()•'"  flffiffl$^oe  67890 

12345  V  &:()""  HffifHScece  67890 

14  'i  n  Vi  %  ^4^8       xza^cE       ra)%t1:§n-M 

ITALIC    LOGOTYPES  OLD    STYLE    FIGURES 

FA  PA  TA  VA  \VA  YA  1234567890$ 

Va  Ve  Vo  Wa  We  Wo  Ya  Ye  Yo  Th  \Vh  12^4567890$ 

Made  ill  all  point  si^e-  ami  -.niiplied  .m  --pccial  iirilcr  I  Iicsc  ,.hai  aLtcrs  may  he  Sllhstillited  fnr  those  reg- 

iilailv  iiiini-.lieil  with  a  font,  if  so  ordered,  or  they 
may  he  added  as  an  extra 

SWASH    CHARACTERS 

These  ailditi..nal  Nwash  I   liaiatleis  are  made  in   IX.  J-l  ami   ill  Point   P.enedicHiie  Hook  llalu   and  may  lie  a.lded  as  an  extra 

SPECIAL    NO,    1 

e  h 
e  h 


21 


BENEDICTINE  BOOK 


with  Italic  and  Small  Caps 


6pt 


now  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE 
How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its 
esthetic  design?  Why  do  the  pace-makers  in  the  art  of  print- 
ing rave  over  a  specific  face  of  typei*  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  to  their  eyes.'  Good  design 
IS  always  practical  design.  And  what  they  see  in  a  good  type 
design  is.  partly,  its  excellent  practical  fitness  to  perform  its 
work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right 
for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all 
of  its  parts  made  nicely  to  the  right  size  to  do  exactly  the 
work  that  the  chair  has  to  do.  neither  clumsy  and  thick,  nor 
"skinny"  and  weak,  no  waste  of  material  and  no  lack  of 
strength.  And,  beyond  that,  the  chair  may  have  been  made 
by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and 
HoLV  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its 
esthetic  design/'  Why  do  the  pace-makers  in  the  art  of  print- 
ing rave  over  a  specific  face  of  type?  What  do  they  see  in  it? 
(solid) 


Matrix  hifonvation:  6A25n.  Lower 
channel  iii;iKazine.  Code  word,   IIITI 


•ase  ali»hal)et.   S4  i>oints.   FiRU 


IN  TERMS  OF  ITS  ESTHETIC  DESIGN.'  WHY  DO  TH 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its 
esthetic  design?  Why  do  the  pace-makers  in  the  art  of  print- 
ing rave  over  a  specific  face  of  type  I*  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design 
is  always  practical  design.  And  what  they  see  in  a  good  type 
design  is.  partly,  its  excellent  practical  fitness  to  perform  its 
work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right 
for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all 
of  its  parts  made  nicely  to  the  right  size  to  do  exactly  the 
work  that  the  chair  has  to  do.  neither  clumsy  and  thick,  nor 
"skinny"  and  weak,  no  waste  of  material  and  no  lack  of 
strength.  And.  beyond  that,  the  chair  may  have  been  made 
by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and 
curves  and  proportions:  it  may  be,  actually,  a  work  of  art. 
(one  point  leaded) 

.()SS3;  ctiiiuiia.  period  and  thin  space.   .0277.   Rinis  in  90 


7pt, 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN 


How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  of  type?  Wh.it 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to 
_  their  eyes?  Good  design  is  always  practical  design.  And 
what  they  see  in  a  good  type  design  is,  partly,  its  ex- 
cellent practical  fitness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good  chair  has  all  of 
its  parts  made  nicely  to  the  right  size  to  do  exactly  the 
work  that  the  chair  has  to  do,  neither  clumsy  and  thick, 
nor  "skinny"  and  weak,  no  waste  of  material  and  no 
lack  of  strength.  And.  beyond  that,  the  chair  may  have 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in  the 
art  of  printing  raoe  over  a  specific  face  of  type?  What 
(solid) 


How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to 
their  eyes?  Good  design  is  always  practical  design.  And 
what  they  see  in  a  good  type  design  is.  partly,  its  ex- 
cellent practical  fitness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good  chair  has  all  of 
its  parts  made  nicely  to  the  right  size  to  do  exactly  the 
work  that  the  chair  has  to  do,  neither  clumsy  and  thick, 
nor  "skinny"  and  weak,  no  waste  of  material  and  no 
lack  of  strength.  And.  beyond  that,  the  chair  may  have 
been  made  by  a  man  who  worked  out  in  it  his  sense  of 
(one  point  leaded) 


Matrix  hijurniatiujj :  7AU().  Lower  case  alphabet,  95  points.   Figures, 
channel  magazine.  Code  word.  IHUP. 


.0622;  comma,  period  and  thin  space.  .0311.  Runs  in  90 


8pt. 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETI 


How  IS  ONE  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design.?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  type.'  What  do  they  see  in  it?  Why  L  it  so 
superlatively  pleasant  to  their  eyes?  Good  design 
IS  always  practical  design.  And  what  they  see  in  a 
good  type  design  is.  partly,  its  excellent  practical 
fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  exactly 
the  work  that  the  chair  has  to  do,  iieither  clumsy 
and  thick,  nor  "skinny"  and  weak,  no  waste  of 

How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design:'  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 

(solid) 


How  IS  ONE  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  design 
is  always  practical  design.  And  what  they  see  in  a 
good  type  design  is,  partly,  its  excellent  practical 
fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  exactly 
the  work  that  the  chair  has  to  do,  neither  clumsy 
and  thick,  nor  "skinny"  and  weak,  no  waste  of 
material  and  no  lack  of  strength.  And,  beyond 
that,   the  chair  may  have  been   made  by  a  man 

(o„c  point  traded) 


ABCDEFGHIJKLMNOPQRSTUVWXYZ0 

ABCDEFGHUKLMNOPQRSTUVWXYZ^ 

ABCDEFGHIJKLMNOPQRSTUVWXYZ8 

abcdefghijklmnopqrstuvwxyzfiflffffiffl  1234567890  ($$  £  ,. : ;  ■-' ? !  *tt§11)    1234567890 

abcdefghijklmnopqrstuvwxyzRttffffiffl  IZ34567890  ($$£,.:;'-' .^ !    itM)  1234567890 


Matrix  Injormation :  8A360.  Lower  case  alphabet.  109  points 
ihannel  magazine.  Code  word.  IHVO. 


Figures,  .0642 


Diiiina.  period  and  thin  space.  .0346.   Kiuis  in  90 


22 


BENEDICTINE  BOOK 

LVtth  Italic  and  Small  Caps 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  g  pt. 
How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  practical  design.  And 
what  they  see  in  a  good  type  design  is.  partly,  its  excellent  practical  fitness  to  perform  its 
work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool 
has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly  the  work 
that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of  ma- 
Hoiv  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design.''  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in  it:'  Why 

I  two  fnint  leaded) 

Matrix  Iniormatu'n  :  ')A''4.  I.nwer  case  ali)lialiet,  120  poiiils,  I'iKures.  .(1761;  ciuiinia.  pericKl  anil  thin  sp.ui-.  Hi.'-'  Runs  in  '(() 
channel  niasa/ine.  (  Mile  w.iril.   IHWU. 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS      lO  pt. 

How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  ?  Why 
do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do 
they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  al- 
ways practical  design.  And  what  they  see  in  a  good  type  design  is,  partly,  its  excel- 
lent practical  fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its 
parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts 
made  nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither 
How  ts  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design i'  Why 
do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type.''  What  do 

ttUKi  p. nut  traded  I 

Matri.r  Inivymatinn  ■  ll)A-"'2.  I.nwcr  case  alpllabet.  135  points.  Fit'nres.  .(I.s.!;  connna.  iiermil  anil  Ihin  sp.ice.  .(His.  Runs  in  ')» 
channel  ni.iKa/ine.  ("nde  wnril.   IH.XY. 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TE     II  pt. 

How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 

Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of 

type.''  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their 

eyes?  Good  design  is  always  practical  design.  And  what  they  see  in  a  good 

type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has 

a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool 

has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do  ex- 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design:' 

Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of 

(t~.vn  /will/  leaded) 

ABCDEFGHIJKLMNOPQRSTUVWXYZt^  ($$£,.:;'-'?!*  f  t  §  II ) 
AECDEFGHIJKLMNOPQRSTUV\VXYZ& ($$£..::'-' ?l    nn) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ8 
abcdcfghijklmnopqrstuvwxyzfiflffffiffl  1  234567890  i  234567890 
abcdefghijklmnopqrstuvwxyzRflfffRffi  1234567890  12^4^67890 

Matrix  httarnuitiin,  llAHK.  I.nwer  case  alphal.et,  IAS  p.nnts.  Figures.  .I\K'>'):  c.nnina.  peii.nl  ami  tliin  sp.iie,  (M^v.  Knns  in  90 
channel  nu-iMa/ine.  Cmie  wnrd.  ZAFE. 


23 


BENEDICT  INE  BOOK  . 

With  Italic  and  Small  Caps 

1 2  pt.  HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  I 
How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant 
to  their  eyes?  Good  design  is  always  practical  design.  And  what  they 
see  in  a  good  type  design  is,  partly,  its  excellent  practical  fitness  to  per- 
form its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right 
for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts 
made  nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to 
do,  neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of  ma- 
terial and  no  lack  of  strength.  And,  beyond  that,  the  chair  may  have 
been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and 
Hoiv  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  de- 
sign.'' Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific 

(two  point  leaded) 

Matrix  Information  :  12A258.  Lower  case  alphabet,  161  points.  Figures,  .0968;  comma,  period  and  thin  space,  .0484.  Runs  in  90 
channel  magazine.  C"ode  word,  ZAFU. 

1 4  pt .  HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE 
How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  es- 
thetic design?  Why  do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why 
is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  al- 
ways practical  design.  And  what  they  see  in  a  good  type  design 
is,  partly,  its  excellent  practical  fitness  to  perform  its  work.  It 
has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size, 
as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made 
nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  es- 
thetic design i'  Why  do  the  pace-makers  in  the  art  of  printing 

(tivo  point  leaded) 

ABCDEFGHI JKLMNOPQRSTUVWXYZ^  1 234 1 234 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&  1234 1234 

ABCDEFGHIJKLMNOPQRSTUVWXYZe 
abcdefghijklmnopqrstuvwxyzfiflffffiffl($$i:,.:;'-7!*tt§1I) 
ahcdefghijklmnopqrstuvwxyzfiRffififn($$ £,.:;'-' ?!    YxW) 

Matrix  Injormation:  14A146.  Lower  case  alphabet,  184  puints.  Figures.  .1107;  conniia.  period  and  thin  space.  .0553.  Runs  in  90 
channel  magazine.  Code  word,  ZAGI. 


24 


BENEDICTINE  BOOK 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  ^  S  pt. 
How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace-mak- 
ers in  the  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it  so  superla- 
tively pleasant  to  their  eyes?  Good  design  is  always 
practical  design.  And  what  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fitness  to 
perform  its  work.  It  has  a  "heft"  and  balance  in  all 
of  its  parts  just  right  for  its  size,  as  any  good  tool 

Mntrix  hiformitliini  :  1KA225.  I.r.wer  c.i'^f  ;ilph.il.ft,  2_M  p.iiiil^,   Fiu'iire--,  ,1107.  Run-  in  './()  Llijuiiiel  inaua/iiie.  Cocle  u,.,<l.   IHVX, 

HOW  IS  ONE  TO  ASSESS  AND  E V  ^4  pt- 
How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  printing  art 
rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  so  superlatively 
pleasant  to  their  eyes?  Good  design  is 
always  practical  design.  A  abcdefghijk 
lmnopqrstuvwxyz($$,.:;'-7!fiflffffiffl) 

(solid) 

ABCDEFGHIJKLMNOPQRSTUV 
WXYZ«  12345678 12345678 


Matrix  hiforrnutioH  J4A1.^S.  I.i.wer  last-  .ilplwiht- 1 .  _"n,  poinis.  I'lmiie  I.  .  1  .^s  ( ;  J  tn  (i.  .1^.',.  Runv  m  7J  *li.iiiiu'1  inaKa/ine;  also 
lower  case,  extcpt  ni  and  w.  in  cap  cliannelis  >>\  'JO  Lliainiel  iiia4a/iiie  with  cap>  aiui  hyiires  in  34  cliaiiiiel  auxiliary  niana/ine. 
Code  word,  IJAL. 


25 


BENEDICTINE  BOOK 


3°  p^  HOW  IS  ONE  TO  ASSESS  AN 

How  is  one  to  assess  and  evaluate 
a  type  face  in  terms  of  its  esthetic 
design?  Why  do  the  pace-makers 
in  the  art  of  printing  rave  over  a 
specific  type  face?  What  do  they 
see  in  it?  Why  is  it  so  pleasant  to 


36  pt. 


(solid) 
Matrix  Injormation  :  30A131.  Lower  case  alphabet,  349  points.   Figure  1.  .166;  2  to  0,  .2075.  Runs  in  Wide  72  channel  maga- 
zine: also  lower  case  in  cap  channels  of  72  channel  magazine  with  caps  and  figures  in  Wide  34  channel  auxiliary  magazine. 
Code  word.  IJAS. 

HOW  IS  ONE  TO  ASSES 

How  can  one  evaluate  and 
assess  any  type  face  in  t  abed 
efghijklmnopqrstuvwxyz 
123  ($$.:;V?!Mffffiffl)  123 

(solid) 

ABCDEFGHIJKLMNOP 
QRSTUVWXYZ8 

Matrix  Injormation  :  .i(>Ai^3.  Lower  case  alphabet.  417  points.  Figure  1.  .1937;  2  to  D.  .249.  Runs  in  Wide  72  channel  magazine; 
also  lower  case  in  cap  channels  of  72  channel  magazine  with  caps  and  figures  in  Wide  34  channel  auxiliary  magazine.  Code 
word,  IJEM. 


26 


BENEDICTINE  BOOK  ITALIC 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A    ^^  P^- 
How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design:"  Why  do  the  pace-mak- 
ers in  the  art  of  printmg  rave  over  a  specific  face  of 
type?  What  do  1 1234567890 f$$..:;'-7!)i2^4^6y8go 


(livo  l^cniit  Icailrill 


ABCDEFGHIJKLMNOPQRS  TUVWXYZ& 
abcdefghijklmnopqrstuoioxyzfiAffffifH 

Matrix  hiformiitini:     lXA22y.   I.c.wer  ta-e  •ilphaln't.  2J3  i),Miit>.   ?"ikiiics.  .1107.   Runs  in  yll  channel  nla^a/ine.  (  ..ile  wnrd,   IJIV. 

HOW  IS  ONE  TO  ASSESS  AND  EV  ^^  p^ 
How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design!^  Why 
do  the  pace-makers  in  the  printing  art 
rave  over  a  specific  face  of  type?  What 

(two  piniit  IcaJi-d) 
Matrix  Injoriimti.ni .  24A1H9.  Lower  case  alphabet,  293  points.  Fisuie  1.  .I.1S.1:  2  to  n.  .ir,r,.  Rinis  in  72  channel  niaKa^iiie;  also 
hiwer  case,  except  ni  ami  w.  in  cap  channels  of  On  channel  niaKazine  with  caps  ami  tik'iires  Iti  .^-4  (haiinel  aii>:iliary  maca/iiie. 
Code  word.  Ijr.A. 

HOW  IS  ONE  TO  ASSESS  A  5°^^ 
How  can  one  assess  and  evaluate 
a  type  face  in  tevmsofits esthetic 
design?  Why  do  pace-makers  in 
the  art  of  printing  rave  over  spe- 

(two  point  Iradt-ii  I 
Matrix  Jnjorniation :  JOA1.35.  Luwer  case  alphahel.  362  points.  Figure  1.  .I'V.;  2  tn  u.  .J(J7S.    Kinis  in  Witic  TJ  Ji.iihk'I  [iiaga- 
ziiie;  also  lower  case  in  cap  channels  of  72  channel  maKazine  with  caps  and  fiviiires  in  Wide  .H  channel  auxiliary  niana/ine. 
Code  word.  IJME. 


27 


BENEDICTINE 

with  Italic  and  Small  Caps 

6  Point  (6A244)  Lower  case  alphabet.  84  points.  Figures.  .0553 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN.'  WHY  DO  TH 
How  is  one  to  jssess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design.'  Why  do  the  pace-makers  in  the  art  of  pnntin  1  234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  estfjettc  design.''  Wfiy  do  the  pace-waliers  in  tfje  art  of  pri  VBCD 

7  I'l.int  (7A104)  Lower  case  alphabet.  95  points.  Figures,  .0622 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  ?  Why  do  the  pace-makers  in  the  123  4 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design!'  Wf>y  do  the  pace-makers  in  VBCD 

K  I'.iiiit   (SA-'74)  Lower  case  alphabet,   10')  points.   Figures.  .0692 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETI 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design.''  Why  do  the  pace-m  1  234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace  VBCD 

9  I'oiiit   (9A90I  L.iwer  case  alphabet.  120  points.   Fiijures.  .0761 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design .''  Why  do  th  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design i"  Why  d  VBCD 

10  Point  (I0A240)  Lower  case  alphabet.  1.35  points.  Figures.  .083 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  W  1 234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  VBCD 

11  Point  (11AH4)  Lower  case  alphabet.  148  points.  Figures.  .0899 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TE 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  des  1  234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  VBCD 

12  Point  (12A17fi)  Lower  case  alphabet.  161  points.  Figures.  .0968 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  I 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthet  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  es  VBCD 

14    I'oint  (14A10f])  Lower  case  alphabet.  184  points.  Figures.  .1107 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE 
How  is  one  to  assess  and  e\  aluate  a  type  face  in  terms  of  it  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  ferms  VBCD 

IX  I'oint  (18A111)  Lower  case  alphabet.  234  points.  Figures.  .1107 

HOW  IS  one  to  assess  and  evaluate  a  type  face  in  12 

24  I'oint  (24A179)  '  Lower  case  alphabet.  296  points.  Figure  1.  .1383;  2  to  0.  .166 

HOW  IS  one  to  assess  and  evaluate  a  12 

Ml  I'oiTit  l,10Al!9l  Lower  case  alphabet.  349  points.  Figure  1.  .166;  2  to  0.  .2075 

HOW  IS  one  to  assess  and  eva  12 

M',  I'oint  (36A79I  Lower  case  alphabet,  417  points.  Figure  1,  .1937;  2  to  0.  .249 

HOW  IS  one  to  assess  an  1 2 


28 


BENEDICTINE  ITALIC 


18  T'ciint   Italic    (IKA221)  l^oun    la^,-  ,,  I  |ili,i  li.-t ,  J.M  ,„.,nts.    FiKlircs.  A]<,7 

HOW  IS  one  to  assess  and  evaluate  a  type  face  in  12 

24  Point    Italic   (_MAlfl  '  l..iwfr  .  a'.c  ahillalicl ,   _"H  p.. in  Is     Fi^-uic   1  ,   ,  11X1  ;  :'  to  0,     ICC 

HOW  IS  one  to  assess  and  evaluate  12 

30  Point  Italic  (.iOAlil)  l^.ivver  case  alphalK-t.   V.J  points     Fiynrc  1.    ICr,;  2  to  0,  .207  = 

HOW  IS  one  to  assess  and  ev  12 


-(LINOTYPE     >- 


LIST   OF    CHARACTERS    IN    TWO-LETTER    FONTS 
WITH    ITALIC    AND    SMALL   CAPS 

ABCDEFGHIJKLMNOPQRSTUVWXYZ 
ABCDEFGHIJKLMNOPQRSTUVWXYZ 

ABCDEFGHIJKLMNOPQRSTUVWXYZ 
12345  abcdefghijklmnopqrstuvwxyz  67890 

VBCDE  abcdefghijklmnopqrstuvwxyz  FGRTJ 

,.::?!(')*"-  —  ^aEtby£$  fiflffffifflaecE 

,.S;.''/AIQO'' j^  CE  lb   N  £  PL  .    ./lY^WMKH 

12345  Z«:()""flffiffl$aece  67890 

12345  \J  &:()""  nmmScece  67890 

%\4n^inuik     xz«/ECE     rr/i  sv  tuii-n 


ITALIC    LOGOTYPES  OLD    STYLE    FIGURES 

FAPATAVAWAYA  1234567890$ 

Va  Ve  Vo  Wa  We  Wo  Ya  Ye  Yo  Th  Wh  1234^67890$ 

Made  in  all  jioiTit  sizes  and  supiilied  on  spe(  lal  ordei  These  iliaraiters  may  lie  sul.stitiited  for  those  res 

lllarly    iuinisliecl   with    a    lont  .   if  so  or.leled.  or  the 
may  he  adiied  as  an  extra 

SPECIAL     NO.    1 

e  h 
e  h 


29 


BENEDICTINE 


with  Italic  and  Small  Caps 


6pt, 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN'  WHY  DO  TH 


HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its 
esthetic  design?  Why  do  the  pace-makers  in  the  art  of  print- 
ing rave  over  a  specific  face  of  type?  What  do  they  see  in  it? 
Why  IS  It  so  superlatively  pleasant  to  their  eyes?  Good  design 
is  always  practical  design.  And  what  they  see  in  a  good  type 
design  IS.  partly,  its  excellent  practical  fitness  to  perform  its 
work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right 
for  Its  size,  as  any  good  tool  has.  Your  good  chair  has  all 
of  its  parts  made  nicely  to  the  right  size  to  do  exactly  the 
work  that  the  chair  has  to  do.  neither  clumsy  and  thick,  nor 
"skinny"  and  weak,  no  waste  of  material  and  no  lack  of 
strength.  And.  beyond  that,  the  chair  may  have  been  made 
by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and 
How  is  one  to  assess  and  evaluate  a  type  face  tn  terms  of  tts 
esthetic  design^  Why  do  the  pace-makers  in  the  art  of  print- 
ing rave  over  a  specific  face  of  type?  What  do  they  see  in  it? 

(Suild) 


HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its 
esthetic  design?  Why  do  the  pace-makers  in  the  art  of  print- 
ing rave  over  a  specific  face  of  type?  What  do  they  see  in  it? 
Why  is  It  so  superlatively  pleasant  to  their  eyes.'  Good  design 
is  always  practical  design.  And  what  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fitness  to  perform  its 
work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right 
for  Its  size,  as  any  good  tool  has.  Your  good  chair  has  all 
of  its  parts  made  nicely  to  the  right  size  to  do  exactly  the 
work  that  the  chair  has  to  do.  neither  clumsy  and  thick,  nor 
"skinny"  and  weak,  no  waste  of  material  and  no  lack  of 
strength.  And.  beyond  that,  the  chair  may  have  been  made 
by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and 
curves  and  proportions;  it  may  be.  actually,  a  work  of  art. 
(one  t^oint  leaded  I 


Matrix  Information :  6A244.  Lower  case  alphabet,  84  points.  Figures,  .0553;  comma,  period  and  thin  space.  .0277.  Ru 
channel  magazine.  Code  word,  IGVP. 


in  90 


7PL 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TY 
How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to 
their  eyes?  Good  design  is  always  practical  design.  And 
what  they  see  in  a  good  type  design  is.  partly,  its  ex- 
cellent practical  fitness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good  chair  has  all  of 
its  parts  made  nicely  to  the  right  size  to  do  exactly  the 
work  that  the  chair  has  to  do.  neither  clumsy  and  thick, 
nor  "skinny"  and  weak,  no  waste  of  material  and  no 
lack  of  strength.  And.  beyond  that,  the  chair  may  have 
Hoiv  is  one  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  of  type?  What 
I  solid) 


PE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN 
How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  of  type?  What 
do  they  sec  in  it?  Why  is  it  so  superlatively  pleasant  to 
their  eyes?  Good  design  is  always  practical  design.  And 
what  they  see  in  a  good  type  design  is.  partly,  its  ex- 
cellent practical  fitness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good  chair  has  all  of 
its  parts  made  nicely  to  the  right  size  to  do  exactly  the 
work  that  the  chair  has  to  do.  neither  clumsy  and  thick, 
nor  "skinny"  and  weak,  no  waste  of  material  and  no 
lack  of  strength.  And.  beyond  that,  the  chair  may  have 
been  made  by  a  man  who  worked  out  in  it  his  sense  of 
(one  point  leaded) 


Matn.v  Information  :  7A104.  Lower  case  alphabet,  95  points, 
channel  magazine.  Code  word,  IHAK. 


Figures,  .0622;  comma,  period  and  thin  space,  .0311.  Runs  in  90 


8pL 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETI 


How  IS  ONE  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design.'  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  design 
is  always  practical  design.  And  what  they  see  in  a 
good  type  design  is,  partly,  its  excellent  practical 
fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  exactly 
the  work  that  the  chair  has  to  do.  neither  clumsy 
and  thick,  nor  "skinny"  and  weak,  no  waste  of 

How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design!"  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 

(solid) 


How  IS  ONE  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  design 
is  always  practical  design.  And  what  they  see  in  a 
good  type  design  is,  partly,  its  excellent  practical 
fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  exactly 
the  work  that  the  chair  has  to  do,  neither  clumsy 
and  thick,  nor  "skinny"  and  weak,  no  waste  of 
material  and  no  lack  of  strength.  And.  beyond 
that,   the  chair   may  have  been   made  by  a  man 

(one  point  leaded i 


ABCDEFGHIJKLMNOPQRSTUVWXYZK 
ABCDEFGHIJKLMNOPQRSTVVWXYZZi 

ABCDEFGHIJKLMNOPQRSTUVWXYZ8 
abcdefghijklmnopqrstuvwxyzfiflfl'ffiffl  12  34567890  ($$  £,.:;'-'?!* ft §1[)   1234567890 
abcdefghijklmnopqrstuvwxyzfiflffffifR  12345  67890  ($$£,.:;'-'?!    ti§1IJ  1234567890 


Matrix  Information  :  8A274.  Lower  case  alphabet,  109  points.  Figures.  .0692 
channel  magazine,  ("ode  word,  IHAR. 


comma,  period  and  thin  space.  .0.146,   Runs  in  90 


30 


9pt. 


BENEDICTINE 

with  Italic  and  Small  Caps 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS 
How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  to  their  eyes ?Goorf  design  is  always  practical  design.  And 
what  they  see  in  a  good  type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its 
work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool 
has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly  the  work 
that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of  ma- 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design.''  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why 

(tZf.i  l^oint  leaded) 

Matrix  UiU'rmalinn  :  9A90.  I.nwer  case  alphahet,  IJfl  points.  Figures.  .n7«l  ;  cniiima,  peri. id  and  tliin  space.  .03S.  Runs  in  90 
channel  tn.'mayine.  Code  \\"r<l.   IIll-.L. 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS      lO  pt. 

How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do 
they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  al- 
ways practical  design.  And  what  they  see  in  a  good  type  design  is,  partly,  its  excel- 
lent practical  fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its 
parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts 
made  nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither 
How  is  one  to  assess  and  evaluate  a  type  face  in  teems  of  its  esthetic  design.''  Why 
do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type.''  What  do 

It-.v,:  f'it't  leaded) 

Matrix  Informatuni  inA24n.  I.nwer  case  alplialiet.  LiS  points.  FiKures.  .U.S3;  comma,  period  and  thin  space.  .0415.  Kuns  in  90 
cliaiuiel  niauaxnie.  (  ode  word.  IHl-.S. 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TE      II  pt. 

How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 

Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of 

type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their 

eyes?  Good  design  is  always  practical  design.  And  what  they  see  in  a  good 

type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has 

a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool 

has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do  ex- 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design.'' 

Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of 

(twn  point  leaded) 

ABCDEFGHIJKLMNOPQRSTUVWXYZy  ($$£..::'-'?!* vt^H) 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&  (  $$£,.:;'-' n    Un) 

ABCDEFGHIJKLMNOPQRSTUVWXYZB 
abcdefghijklmnopqrstuvwxyzfiflffffiffi  1234567890  1234567890 
abcdefghijklmnopqrstuvwxyzfififfffiffl  1234567890  1 2}4^6j8go 

Matiix  hil.nmatuni  :  nA84.  I.owei  .  ave  alplial.et.  14S  points.  FiKnres,  .IIX')');  comma,  pern.d  and  thtn  sp.ice.  .044'!.  Runs  m  90 
channel  m.iKa/ine.  Code  word.  IIFIM. 


31 


BENEDICTINE 

with  Italic  and  Small  Caps 

1 2  pt*  HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  I 
How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant 
to  their  eyes?  Good  design  is  always  practical  design.  And  what  they 
see  in  a  good  type  design  is,  partly,  its  excellent  practical  fitness  to  per- 
form its  work.  It  has  a  *'heft"  and  balance  in  all  of  its  parts  just  right 
for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts 
made  nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to 
do,  neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of  ma- 
terial and  no  lack  of  strength.  And,  beyond  that,  the  chair  may  have 
been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  de- 
sign^ Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific 

(/jfu  foint  haded  J 

Matrix  Initninutivn  :  MIs'^Kk  Lower  case  alphabet.  161  points.  Figures.  .0968;  connjia,  period  and  thin  space,  .04S4.  Runs  in  90 
channel  magazine.  Code  worrl,   IHKA. 

1 4  Pt-  HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE 
How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  es- 
thetic design?  Why  do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why 
is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  al- 
ways practical  design.  And  what  they  see  in  a  good  type  design 
is.  partly,  its  excellent  pra:tical  fitness  to  perform  its  work.  It 
has  a  **heft"  and  balance  in  all  of  its  parts  just  right  for  its  size, 
as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made 
nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  es- 
thetic design?  Why  do  the  pace-makers  in  the  art  of  printing 

(tu'o  point  haded) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ^  1234  1234 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&  1234  1234 

ABCDEFGHIJKLMNOPQRSTUVWXYZy 
abcdef  ghi  jklmnopqrstuvwxyzfiflff  ffifB  ($$£..:;*-'?!*  1 1  §T[ ) 
abcdefghijklmnopqrstuvwxyzMffffiffi($$£,. :'/-'?!   t X\V 

Matrix  I njurmativn  :  14AI"6.  Lower  case  alphaliet.  184  j)oints.  FiKures.  .1107;  comma,  period  and  thin  space.  .0553.  Runs  in  90 
channel  niaKa/ine.  (ode  word.  IHI.E. 


32 


BENEDICTINE 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  1 8  pt. 
How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace-mak- 
ers in  the  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it  so  superla- 
tively pleasant  to  their  eyes?  Good  design  is  always 
practical  design.  And  what  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fitness  to 
perform  its  ^vork.  It  has  a  *'heft 'and  balance  in  all 
of  its  parts  just  right  for  its  size,  as  any  good  tool 

(SulidI 

Maliix  Information:  IRAlll.  l.nwer  case  alphabet.  22A  ii.mits.   FiKlires.  .1107.  Runs  in  'fll  .li.nniel  niak'a'ine.  I'ccle  wc.r.l.   IIIMI, 

HOW  IS  ONE  TO  ASSESS  AND  EV  ^4  pt 
How  can  any  one  assess  and  evaluate  a 
type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  print- 
ing art  rave  over  a  specific  face  of  type? 
What  do  they  see  in  it?  Why  so  super- 
latively pleasant  to  their  eyes?  Good 
design  is  always  practical  abcdef ghijk 
Imnopqrstuvwxyz  ($$,.:;'-'? Ififlffffiffl) 

ABCDEFGHIJKLMNOPQRSTUV 
WXYZ«  12345678 12345678 

Mati-i.r  Intormation  :  24lil7'J.  I.inver  case  alphabet.  j<".  pciiits.  I-'iuiire  1.  .1  !>' 1 :  .'  l,.  ll.  .11,6.  Runs  m  7J  ih.nniel  m.-iua^ine;  also 
Inwer  ease,  except  ni  and  w.  in  cap  cbamiels  of  'Mi  cliainiel  nl;l^;;l/l1te  with  taps  ;inil  ti^ures  in  M  cli;tnne!  ;ni\ili.-iry  ni.ati.'i/ine. 
Code  wor<l.  I  UNO. 


33 


BENEDICTINE 


30  Pt  HOW  IS  ONE  TO  ASSESS  AN 
How  is  one  to  assess  and  evaluate 
a  type  face  in  terms  of  its  esthetic 
design?  Why  do  the  pace-makers 
in  the  art  of  printing  rave  over  a 
specific  type  face?  What  do  they 
see  in  it?  Why  is  it  so  pleasant  to 


36  pt. 


(solid) 

Matrix  Information :  30A119.  Lower  case  alpliahel.  349  points.  Figure  1.  .166;  2  to  0.  .2075.  Runs  in  Wide  72  channel  maga- 
zine; also  lower  case  in  cap  channels  of  72  channel  magazine  with  caps  and  tigures  in  Wide  34  channel  auxiliary  magazine. 
Code  word.  IHON. 

HOW  IS  ONE  TO  ASSES 

How  is  one  to  evaluate  and 
assess  any  type  face  in  t  abed 
efgbijklmnopqrstuvwxyz 
123  ($$,.:;V?Ififlffffiffl)  123 

(solid) 

ABCDEFGHIJKLMNOP 
QRSTUVWXYZ^ 

Matrix  Infoi-mntion :  j6A79.  Lower  case  alphabet,  417  points.  Figure  1,  .1937;  2  to  0,  .249.  Runs  in  Wide  72  channel  maga- 
zine; also  lower  case  in  cap  channels  of  72  channel  magazine  with  caps  and  figures  in  Wide  34  channel  auxiliary  magazine. 
Code  word.  IHOV. 


34 


BENEDICTINE  ITALIC 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A    ^^  P^^ 
How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design.^  Why  do  the  pace-mak- 
ers in  the  art  of  printing  rave  over  a  specific  face  of 
type!"  What  do  1 1234567890  ($$,.:;'- i"!)  1234^67890 

,l-.v,:  p.nni  l.-aJrdt 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
abcdefghijklmnopqrstuvwxyzfiflfffRfR 

Matrix  Infunnatiiin:  18A221.  I.c.wer  case  alphabet.  223  p.iinls.  Figures.  .1107.  Rims  in  '.«!  (liatiiu-1  iii.n;.i/ine.  ('..(ie  vv<.nl.   IIIPU. 

HOW  IS  ONE  TO  ASSESS  AND  EV  ^4  pt 
How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design!^  Why 
do  the  pace-makers  in  the  printing  art 
rave  over  a  specific  face  of  type?  What 

llu'o  point  leaded) 
Matrix  Injormaliiin  :  2-4A1X1.  Lower  case  alplialiet.  2<(3  pcints.  Fii;iire  1.  .l.^s.^:  2  (n  f).  .If.f,.  Runs  in  72  diaiuiel  Tnaga/ine;  also 
lower  case,  except   ni  and  w.   in  cap  channels  of  '.^o  ciiaiinel  inaKa/ine  with   caps  ami  figure'^  in   .M  clunnel  .luxiliary  ni.iKazine. 
Code  w.ird.  IIIRA. 

HOW  IS  ONE  TO  ASSESS  A  ^°p' 

How  can  one  assess  and  evaluate 
a  type  face  in  terms  of  its  esthetic 
design^  Why  do  pace-makers  in 
the  art  of  printing  rave  over  spe- 

ilv'o  pi'iiit  1,-adcdl 

Matrix  Information  :  30A121.  Lower  case  alr^aliet.  i(,2  points.  J-'iKure  1.  M',:,;  2  to  (I.  .J()7-s.  Runs  in  Wide  72  chaiuiel  maga- 
zine: also  lower  case  in  cap  cliaunels  of  72  cliatme!  magazine  with  caps  ami  figures  in  Wide  .M  cli.mnel  auxiliary  niaga/ine. 
C.ule  word.  IHSK. 


35 


BENEDICTINE  BOOK 

with  Benedictine 


6  Pniiit  {6A264)  Lower  case  alphabet,  84  points.  Figures,  .0553 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  TH 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of  printin  1  234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  TH 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of  printin  1234 

7  Point  (7A12())  Lower  ease  alphabet,  95  points.  Figures,  ,0622 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design.?  Why  do  the  pace-makers  in  the  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design.''  Why  do  the  pace-makers  in  the  1234 

fl  Point  (8A3f)6)  Lower  case  alphabet,  109  points.  Figures,  ,0692 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETI 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  ?  Why  do  the  pace-m  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETI 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  ?  Why  do  the  pace-m  1234 

9  Point  (9A100)  Lower  case  alphabet,  120  points.  Figures,  ,0761 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  th  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  th  1234 

10  Point  (10A298)  Lower  case  alphabet.  135  points.  Figures,  ,08J 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  W  1  234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  W  1  234 

11  Point  (11A94)  Lower  case  alphabet.  148  points.  Figures.  .0899 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TE 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  des  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TE 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  des  1234 

12  Point  (12A274)  Lower  case  alphabet.  161  points.  Figures,  .0968 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  I 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthet  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  I 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthet  1234 

14  P.iint  (14^1-Ji  Louer  i-.ise  .ilphaliet,  I  R4  points.  Figures,  .111)7 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  it  1 234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  it  1 234 


-(,..,  LINOTYPE  "> 


LIST   OF    CHARACTERS 
IN    TWO-LETTER    FONTS 

ABCDEFGHIJKLMNOPQRSTUVWXYZ 
ABCDEFGHIJKLMNOPQRSTUVWXYZ 

1  2345       abcdefghijklmnopqrstuvwxyz       67890 
12345       abcdefghijklmnopqrstuvwxyz       67890 

M(|)*" ^OE  lb  »  £  Sxce  fiflffffiffl 

M  (I  )  *"-  — .tCE  tb  K  £  Sxoe  fiflffffiffl 

Vs  Va  Vs  Vi  %  ¥4  Vs       @       %tt§1I-[] 


/ 

OLD    STYLE 

FIGURES 

12    3    4 

5    6 

7   8 

9   0 

1234 

5   6 

7   8 

9    0 

These   characters   may   be   substituted   for 
those  regularly  furnished  with  a  font,  if  so 
ordered,  or  they  may  be  added  as  an  extra 

i 

SPECIAL 

NO. 

1 

e  h 
e  h 

36 


BENEDICTINE  BOLD 

with  Italic 


R  I'.Miit   (KA<''-4I  Lr.wcr  c-:i^e  :il|ilialict.   117  pMinls     iMiinifs,  .lir,')2 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  designi"  Why  do  th  1  234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design.''  Why  do  th  1234 

1(1    IV. mt    MM/. _'■),, I  l,nu,T  lavf  ;illill.ili<-t.   1-17  IJMitits,    }'lKures.  .(JX.i 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  1234 

].'   I'. lint    (IJ'.'i,M)  l,..«i-r  c.isp  aliih.il.cl.   177i..mits.    I- luuri"..  .I)'«,S 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  1234 

]■!  I'..iiit  (14,11^(11  I.. nver  case  ali>li;iliet.  _'or,  p,. lilts.  Kiiiures.  .11(17 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  1 1 234 
HOW  IS  ON  E  to  assess  and  evaluate  a  type  face  in  1 1234 

]X  I',  lint   (IXA-'ti  l...ucr  case  .ilpli.ihet .  JAl.  pMints     I'lKiirL-   1  .  ,  1  1(17  ;  2  t, ,  (|,   .  1  .M  = 

HOW  IS  one  to  assess  and  evaluate  a  type  fa  12 

24  Point   (24Al''.ll  Lower  case  alphahet.  .12^  points.   FiKurc  1,  .l.lxi;  2  t..  l).  .Ifi6 

HOW  IS  one  to  assess  and  cvalua  12 

30  Point  (30A1J9)  r..nver  lase  alphahet.  .i.S9  points.  Fi«iiie  1.  .17'<S:  2  to  (I.  .2()7i 

HOW  IS  one  to  assess  and  12 

31',  Point   (3r,A.H7)  Lower  rase  alpliahet.  4'.x  points.    Fmurc  I.  .2(l7S;  2  to  (l.    24'l 

HOW  IS  one  to  assess  12 

IK  Point  Italic   (1.<(A237)  L.iu.t  lasc  alpli.'il.i-t,  JSl   iioints,   Pi«iire  I.  .11(17:  2  to  ().  .124  = 

HOW  IS  one  to  assess  and  evaluate  a  type  fa  12 

24   r..Mit    It.di,    .24A1''7»  I  .luer  rasi-  ;ilplial..-l.    12''  p., no,     liuiinl,     M.X!;2t.i(i      I'.r, 

HOW  IS  one  to  assess  and  evalu  12 


30  Point  (.lri,A141l  I  ..vv,-l  (..,..•  ..Il.ll.iliol.  404  point,   !■  r.;  ni  .•  I  .  .  1  7''«  :  2  to  0.  207  = 

HOW  IS  one  to  assess  and  12 

(■  LINOTYPE"   ) 

LIST   OF   CHARACTERS  italic   logotypes 

IN    TWO-LETTER    FONTS  FAPATAVAWAYA 

Va  VeVo  Wa  We  WoYaYeYo 

ABCDEFGHIJKLMNOPQRSTUVWXYZ 

ABCDEFGHIJKLMNOPQRSTUVWXYZ  ^^  ^^  ^  ^^^^^  ^" - ^^- ^^  ^  ^  ^ 

12345        abcdefghijklmnopqrstuvwxyz        67890  i  lu-se  .suash  (  hai..,  i.  is  n.  ma.le  in  all  sizes 

1Z345        abcdefghijklmnopqrstuvwxyz        67890  ami  mav  l.e  ,„i.i,.i  .,,,,„  .-Mra 

5PEC  OLD    STYLE    FIGURES 


,.::my^".-JECEtb&£$a.ce                fHUffUfR  ph  \p^5(>7^90%  1 2 34 567890$ 

^  '^                                                  ^  C   11  I  hesf  characters  may  lie  substitiileil  mr  ilmst- 

i/i/^/i/c/i/T/       ^-\       .■r^j.j.frr      rn  _1L  leKul.'irly  furnished  with  a  font,  if  sn  orfiered. 

!/8  "4  Kg!  2  58^4  ^8      @       %t*§1I-[]  en  or  they  may  t,e  ailcled  as  an  extra 


37 


BENEDICTINE  BOLD 


with  Italic 


8pt- 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE 
How  is  one  to  assess  and  evaluate  a  type  face 
in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  a 
specific  face  of  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design  is, 
partly,  its  excellent  practical  fitness  to  per- 
form its  work.  It  has  a  "heft"  and  balance  in 
all  of  its  parts  just  right  for  its  size,  as  any 
good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  exact- 
ly the  work  that  the  chair  has  to  do,  neither 
clumsy  and  thick,  nor  "skinny"  and  weak, 
no  waste  of  material  and  no  lack  of  strength. 
And,  beyond  that,  the  chair  may  have  been 
made  by  a  man  who  worked  out  in  it  his  sense 
of  fine  shapes  and  curves  and  proportions:  it 
may  be,  actually,  a  work  of  art.  The  same 
thing  holds  for  shapes  of  letters.  And   your 

How  is  one  to  assess  and  evaluate  a  type  face 
in  terms  of  its  esthetic  design.''  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  a 

(solid) 

Matrix  Infurmation:  8A364.  Ltiwer  case  alphabet.  117  points.  Fi 
channel  magazine.  Code  word.  TJWO. 


A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHE 
How  is  one  to  assess  and  evaluate  a  type  face 
in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  a 
specific  face  of  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design  is, 
partly,  its  excellent  practical  fitness  to  per- 
form its  work.  It  has  a  "heft"  and  balance  in 
all  of  its  parts  just  right  for  its  size,  as  any 
good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  exact- 
ly the  work  that  the  chair  has  to  do,  neither 
clumsy  and  thick,  nor  "skinny"  and  weak, 
no  waste  of  material  and  no  lack  of  strength. 
And,  beyond  that,  the  chair  may  have  been 
made  by  a  man  who  worked  out  in  it  his  sense 
of  fine  shapes  and  curves  and  proportions:  it 
may  be,  actually,  a  work  of  art.  The  same 
thing  holds  for  shapes  of  letters.  And  your 
chair,  or  your  letter  (if  a  true  artist  made  it) 

(uiu-  pumt  leaded) 
gures.  .0692;  ctiniina,  period  and  thin  space.  .0346.  Runs  in  90 


lO  pt»     HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERM 


How  is  one  to  assess  and  evaluate  a 
type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant 
to  their  eyes?  Good  design  is  always 
practical  design.  And  what  they  see 
in  a  good  type  design  is,  partly,  its 
excellent  practical  fitness  to  perform 
its  w^ork.  It  has  a  "heft"  and  balance 
in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good 
chair  has  all  of  its  parts  made  nicely 
to  the  right  size  to  do  exactly  the 
work  that  the  chair  has  to  do,  neither 
clumsy  and  thick,  nor  "skinny"  and 

How  is  one  to  assess  and  evaluate  a 
type  face  in  terms  of  its  esthetic  de- 
sign.'' Why  do  the  pace-makers  in  the 

(solid) 


How  is  one  to  assess  and  evaluate  a 
type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant 
to  their  eyes?  Good  design  is  always 
practical  design.  And  what  they  see 
in  a  good  type  design  is,  partly,  its 
excellent  practical  fitness  to  perform 
its  work.  It  has  a  "heft"  and  balance 
in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good 
chair  has  all  of  its  parts  made  nicely 
to  the  right  size  to  do  exactly  the 
work  that  the  chair  has  to  do,  neither 
clumsy  and  thick,  nor  "skinny"  and 
weak,  no  waste  of  material  and  no 
lack  of  strength.  And,  beyond  that, 


ABCDEFGHIJKLMNOPQRSTUVWXYZy 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflffffiffl  123456  ($$£,.:;'-'?!*t1:§^)  123456 
abcdefghijklmnopqrstuvwxyzfiflffffiffl  1 23456  ($$£,.:;'-'r.*U§^)  123456 


Matrix  Information  :  10A296.  Lower  ca^e  alpliatiet.   H7  points 
cliannel  magazine.  Cfxie  word,  IJXU. 


Figures.  .083;  comma,  period  and  thin  space,  .0415.  Runs  in  90 


38 


BENEDICTINE  BOLD 

with  Italic 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FAC  12  pt. 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its 
esthetic  design?  Why  do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  type?  What  do  they  see  in  it.'*  Why 
is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  al- 
ways practical  design.  And  what  they  see  in  a  good  type  design  is, 
partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any 
good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to 
the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do, 
neither  clumsy  and  thick,  nor  **skinny"and  weak,  no  waste  of 
material  and  no  lack  of  strength.  And,  beyond  that,  the  chair 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its 
esthetic  design.''  Why  do  the  pace-makers  in  the  art  of  printing 


III.-  \M.iil,  I.IYR. 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYP  14  P^- 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of 
its  esthetic  design.'*  Why  do  the  pace-makers  in  the  art 
of  printing  rave  over  a  specific  face  of  type?  What  do 
they  see  in  it  ?  Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design.  And  what 
they  see  in  a  good  type  design  is,  partly,  its  excellent 
practical  fitness  to  perform  its  work.  It  has  a  *'heft''and 
balance  in  all  of  its  parts  just  right  for  its  size,  as  any 
good  tool  has.  Your  good  chair  ha  ($$£,.:;*-'?  I*tt§ll) 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of 
its  esthetic  design.^  Why  do  the  pa  ($$£,.: ;*-\^!''-\tM) 

ABCDEFGHI JKLMNOPQRSTUVWXYZ^  1 23 1 23 
ABCDEFGH1JKLMNOPQRSTUVWXYZ&123I23 

abcdefghijklmnopqrstuvwxyzfififfffiffl 

abcdefghijklmnopqrstuvwxyzfiflffffiffl 

\l,:ln.v  Iiijormalioii  ■  14A1''".   Lower  r.-ise  ;ili)lii,lift.  J(w.  pniut';     I'iMiires.  Jill/:  i,.iiiiii:i.  pen. id  and  tlm:  sp.ne.  .(IJSi.   Kiiiis  in  90 
I  liamiel  magazine.  Lode  wnrd.  I.TVZ. 


39 


BENEDICTINE  BOLD 


i8  pt.  HOW  IS  ONE  TO  ASSESS  AND  EVALUAT 
Ho^v  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  spe- 
cific face  of  type?  What  do  they  see  in  it?  Why 
is  it  so  superlatively  pleasant  to  their  eyes? 
Good  design  is  always  practical  design*  And 
^vhat  they  see  in  a  good  type  design  is,  partly^ 

Matrix  Information  :  18A233.  Lower  case  alphabet.  246  points.  Figure  1,  .1107;  2  tci  0.  .1245.  Runs  in  72  channel  magazine; 
also  lower  case  in  cap  channels  of  90  channel  magazine  with  caps  and  figures  in  34  channel  au.xiliary  magazine.  Code  word, 
IJZY. 

M  Pt  HOW  IS  ONE  TO  ASSESS  AND  E 
How^  is  one  to  assess  and  evaluate  a 
type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in 
the  art  of  printing  rave  over  a  spe- 
cific face  of  type?  What  do  they  see 
in  it?  Why  so  superlatively  pleas- 
ant to  their  eyes?  abcdefghijklmn 
opqrstuvwxyz  ($$t*:;^-^?!fiflffffiffl) 

(tu'u  l>i,int  leaded) 

ABCDEFGHIJKLMNOPQRSTU 
VWXYZ«  123456 123456 

Matrix  Informatton  JA/Sl'-J.i.  I.uwer  case  alphabet,  JJ5  puiiits.  Figure  1.  .I3kJ:  2  to  U.  .166.  Runs  in  Wide  72  channel  maga- 
zine: also  lower  case  in  cap  channels  of  72  channel  magazine  with  caps  and  figures  in  Wide  34  channel  auxiliary  magazine. 
Code  word,  IKAM. 


40 


BENEDICTINE  BOLD 


HOW  IS  ONE  TO  ASSESS  A  ^°  ""■ 

How  is  one  to  assess  and  eval- 
uate a  type  face  in  terms  of  its 
esthetic  design?  Why  do  pace- 
makers in  the  art  of  printing 
rave  over  specific  type  faces? 

lt-:vo  f'liit  Iradrd) 

Matrix  Inlorniotivn  ^n/^]^9.  Lower  LHse  alplishet.  IS'l  jirMiit^,  l-iKiire  1.  .  1  7'<S  ;  2  ti.  11,  .2075.  Runs  in  Wide  72  thailiicl  iiiHca- 
zine:  also  lower  case  in  cap  cliannels  of  72  cliannel  niagj/ine  with  caps  and  figures  in  Wide  .M  channel  anxiliary  inaya^ine. 
Code  word,  IKBY. 

HOW  IS  ONE  TO  ASSE  ''  ''■ 

Ho\v  is  one  to  assess  and 

evaluate  a  type  f  abcdef  g 

hijklmnopqrstuvw^xyz 
12  ($$,.:;V?Ififlffffiffl)  12 

(t-.vo  I'l'iiit  Iradrd) 

ABCDEFGHIJKLMNO 
PQRSTUVWXYZ» 


Matrix  Injormation  -  36Af*7.  I-nwer  case  alphabet,  46R  pmnts.    Figure   1.  .2075;  2  to  0.   .lA^'i    Rvms  in  Wide  .H  channel  auxiliary 
niaKai*iiie;  also  lower  case  in  cap  cliannels  of  Wide  72  cliannel  tnaga/ine.   Code  word.   IKKN. 


41 


BENEDICTINE  BOLD  ITALIC 

i8  pt.  HOW  IS  ONE  TO  ASSESS  AND  EVALUAT 
How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design!*  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  spe-^ 
cific  face  o  1234567890 ($$,.: ;'-'r. )  1234^67890 

abcdefghijklmn6pqrstuvwxyz& 

abcdefghijklmnopqrstuvwxyzflfiffffifH 

Matrix  lujuninilioi :  ]SA--^7-  Lower  case  alpliatieT.  2?1  points.  Fitrure  1.  .1107;  2  to  0.  .124S.  Runs  in  72  cli.nmel  magazine; 
also  lower  tase  in  cap  channels  of  90  channel  niagazine  with  caps  and  fignres  in  34  channel  auxiliary  niaga/ine.  Code  word, 
IKEV. 

24  Pt^  HOW  IS  ONE  TO  ASSESS  AND  E 
How  is  one  to  assess  and  evaluate  a 
type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in 
the  art  of  printing  rave  over  a  spe- 

I  f.vo  p.niil  h-inlrd  I 
Matrix  Inliii  iiuituni :  J4Aiy7.   Lower  case  alplialiet.  329  points.  Figure  1.  .l.ix.!;  2  to  (I.  .166.  Runs  in  Wide  7J  cliannel  maga- 
zine: also  lower  case  in  cap  channels  of  72  channel  magazine  with  caps  and  figures  in  Wide  M  channel  auxiliary  magazine. 
Code  word.  IKIP. 

30  Pt  HOW  IS  ONE  TO  ASSESS 
How  is  one  to  assess  and  eval- 
uate a  type  face  in  terms  of  its 
esthetic  design?  Why  do  the 
pace-makers  in  the  printing 

(tivo  t^oint  Irailrdl 

Matrix  Information:  30AH3.  Lower  case  alphabet,  404  points.  Figure  1.  .1798;  2  to  0,  .2075.  Runs  in  Wide  72  channel  maga- 
zine; also  lower  case  in  cap  channels  of  72  channel  magazine  with  caps  and  figures  in  Wide  34  channel  auxiliary  magazine. 
Code  word.  IKMA. 


42 


MEMBERS    OF    THE    LINOTYPE    BODONI    FAMILY 

LINOTYPE  BODONI 

AND 

BODONI  BOOK 


At  the  beginning  of  the  Nineteenth  Century,  Giam- 
battista  Bodoni  designed  the  types  that  bear  his  name. 
His  was  the  first  and  most  successful  attempt  to  break 
completely  with  the  old  style  tradition  and  create  a  face 
new  and  different. 

Because  Bodoni  is  a  distinguished  typographic  con- 
tribution, it  is  available  in  Linotype  form  in  varying 
weights. The  Linotype  Bodoni  Family  includes  Bodoni 
Book,  a  refined,  delicate  face  particularly  appropriate 
for  books ;  Bodoni,  a  trifle  heavier  weight,  yet  decidedly 
useful  for  book  and  publicity  purposes;  Bodoni  Bold, 
the  display  form;  and  Poster  Bodoni,  a  super  display 
type,  attractive  and  eye-pulling  when  sparingly  used. 


MERCENTHALER  LINOTYPE  COMPANY.  BROOKLYN,  NEW  YORK.  NEW  YORK  CITY.  CHICAGO.  SAN  FRANCISCO. 
NEW    ORLEANS.    CANADIAN    LINOTYPE,   LIMITED,   TORONTO.   RLprtsinlaliics   in   tlw  Principal  Cilivs   uj  the   Korld 


LIST   OF    CHARACTERS 

in  Two-Letter  Fonts  ivith  Italic  and  Small  Caps 


ABCDEFGHIJKLMNOPQRSTUVWXYZ 
ABCDEFGHIJKLMNOPQRSTUVWXYZ 

ABCDEFGHIJKLMNOPQRSTUVWXYZ 

12345       abcdefghijklmnopqrstuvwxyz       67890 
VBCDE        abcdefghijklmnopqrstuvwxyz       fgrtj 

?  !  (  I  )  *"-  — ^(En.&£$  .  ..  fiflffffifflEeoe 

?/aIQO'' /E  (E  tb  1^  £  P  I.  .    .  .  flY  ffw  MKK 

12345       Z&:()flffiffl$ace       67890     ; ! 
12345       u&  :  (  )  flffifn$(Bce       67890     [ ! 


/8V4.%V2%%VS 


X  Z  &  ^  (E 


@ 


r/ 


ct$§ir 


[] 


-(LINOTYPE  "> 


ONE-LETTER    ROMAN    LOGOTYPES 
SPECIAL    NO.   5 

fa  fe  f o  f r  fs  ft  f u  f y  ffa  ffe  ffo  ff r  fifs  ffu  ffy  f ,  f .  f-  ff,  £f.  fif-  f  ff 


ONE-LETTER    ITALIC    LOGOTYPES 

FA  PA  TA  VA  WA  YA  Til  Wh 

SI  .iCIAL    NO.   5 

/  af  aff  ef  eff  hf  if  iff  kj  If  mf  nf  of  off  pf  rf  sf  tf  uf  uff  yf  If  Of  Off 

ONE-LETTER    ITALIC 

SPECIAL    NO.    5 

abcdefghijklmnopqrstuvivxyz 

TRUE-CUT    SMALL    CAPS 
SPECIAL   NO.   5 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 


TWO-LETTER    LOGOTYPES 

E  R  Ta  Te  To  Tr  Tu  Tw  Ty  T  Va  Ve  Vo  V.  Wa  We  Wi  Wo  Wr  W.  Ya  Ye  Yo  Y. 
F.P.TaTe  To  Tr  Tu  Tw  Ty  T  Va  Ve  Vo  V  Wa  We  Wi  Wo  Wr  W  Ya  Ye  Yo  Y. 

fa  f e  fo  f r  fs  ft  f u  f y  ffa  if e  ffo  ffr  ffs  ffu  ffy  f,  f  f-  ff,  ff.  ff- 
fafefofrfsftfufyffaff-effoffrffsffuffyf,ff-jr,ff:ffff 


44 


BODO]\I   BOOK-COMPARISO]\   OF   SIZES 

("PC  LINOTYPE"") 


6  Point  Bodoni  Bnnk  with  Italic  and  Small  Caps  (eAl'^S)  Lower  case  alphabet,  81  points.  Figures,  .0415 
HOW  IS  ONE  to  assess  and  evaluate  a  type  fare  in  terms  of  its  esthetic  design  ?  Why  do  the  pare-ni.ikers  in  the  an  of  printint:  12 
HOlf  IS  O^E  to  assess  and  rviiluute  a  type  jiicc  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  art  oj  printing  vb 

7  Point  Bodoni  Book  with  Italic  and  Small  Caps  (7A94)  Lower  case  alphabet,  92  points.  Figures,  .0484 
HOW  I.S  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  (lesi{;n?  Wliy  rlo  the  pace-makers  in  the  12 
HOlf  IS  0.\E  to  assess  anil  cvaluair  a  type  face  in  terms  of  its  esthetic  design?  W  hy  do  the  pace-makers  in  the  VB 

8  Point  Bodoni  Book  with  Italic  and  Small  Caps  (SA280)  Lower  case  alphabet.  103  points.  Figures.  .0553 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-ma  12 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design ^  Why  do  the  pace-nia  VB 

9  Point  Bodoni  Book  with  Italic  and  Small  Caps  (9Ain4)  Lower  case  alphabet.  114  points.  Figures,  .0622 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  12 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  VB 

10  Point  Bodoni  Book  with  Italic  and  Small  Caps  (10A250)  Lower  case  alphabet.  122  points.  Figures.  .0692 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  d  12 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  d  VB 

12  Point  Bodoni  Bo.jk  with  Italic  and  Small  Caps  (12A186)  Lower  case  alphabet.  137  points.  Figures,  .083 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  des  12 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  des  VB 

14  Point  Bodoni  Book  with  Italic  and  Small  Caps  (14AU4)  Lower  case  alphabet.  152  points.  Figures,  .0968 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  estli  12 
HOJV  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  estJi  VB 

18  Point  Budoni  Book  (lSAl-5)  Lower  case  alphabet.  187  points.  Figures.  .1107 

HOW  IS  one  to  assess  and  evaluate  a  type  face  in  terms  12 

24  Point  Bodoni  Book  (24AI15)  Lower  case  alphabet.  2i3  points.  Figures,  .1107 

HOW  IS  one  to  assess  and  evaluate  a  type  face  12 

30  Point  Bodoni  Book  (3OA109)  Lower  case  ali)hal)et,  298  points.  Figure  1,  .166;  2  to  0,  .1937 

HOW  IS  one  to  assess  and  evalua  12 

18  Point  Bodoni  Book  Italic  (18A211)  Lower  case  alphabet.  190  points.  Figures,  .1107 

HOW  IS  one  to  assess  and  evaluate  a  type  face  in  terms  12 

24  Point  Bodoni  Book  Italic  (24A167)  Lower  case  alphabet.  245  points.  Figure  1,  .1383;  2  to  0,  .1522 

HOW  IS  one  to  assess  and  evaluate  a  type  12 

30  Point  B.idnni  Book  Italic  (3nA103)  Lower  case  alphabet.  296  points.  Figure  1,  .166;  2  to  0,  .1937 

HOW  IS  one  to  assess  and  evalua  12 


45 


BODOI\I 
BOOK 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE- 
MAKERS IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  OF  TYPE?  WHAT  DO  THEY  SEE  IN  IT?  WHY  IS 


How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its 
esthetic  design?  Why  do  the  pace-makers  in  the  art  of  printing 

6  rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why 

is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  al- 
ways practical  design.  And  what  they  see  in  a  good  type  design 
POINT  is,  partly,  its  excellent  practical  fitness  to  perform  its  work.  It 

has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts 
made  nicely  to  the  right  size  to  do  exactly  the  work  that  the 
chair  has  to  do,  neither  clumsy  and  thick,  nor  *'skinny"  and 
weak,  no  waste  of  material  and  no  lack  of  strength.  Anil,  be- 
yond that,  the  chair  may  have  been  made  by  a  man  who  wrjrkcd 
out  in  it  his  sense  of  fine  shapes  and  curves  and  proportions: 
it  may  be.  actually,  a  work  of  art.  The  same  thing  holds  for 
shapes  of  letters.  And  your  chair,  or  your  letter  (if  a  true  art- 
ist made  it)  will  have,  besides  its  good  looks,  a  suitability  to 
the  nth  degree  to  be  sat  in,  or  stamped  on  paper  and  read. 
That  explains,  in  a  way.  why  the  experts  rave  over  the  fine 
shapes  of  letters;  but  it  fails  to  explain  wherein  the  shapes  are 
fine.  If  you  seek  to  go  further  with  the  inquiry,  theories  will  be 
your  only  answer.  Here  is  a  theory  that  the  proponent  thinks 
(solid) 

The  same  thing  holds  jar  shapes  of  letters.  And  your  chair,  or  your 
letter  (if  a  true  artist  made  it)  ivill  have,  besides  its  good  looks,  n 
suitability  to  the  nth  degree  to  he  sat  in,  or  stamped  on  paper  and 
read.  That  explains,  in  a  way,  why  the  experts  rave  over  the  fine 
(One-Letter  Italic) 


How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its 
esthetic  design?  Why  do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why 
is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  al- 
ways practical  design.  And  what  they  see  in  a  good  type  design 
is,  partly,  its  excellent  practical  fitness  to  perform  its  work.  It 
has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts 
made  nicely  to  the  right  size  to  do  exactly  the  work  that  the 
chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and 
weak,  no  waste  of  material  and  no  lack  of  strength.  And,  be- 
yond that,  the  chair  may  have  been  made  by  a  man  who  worked 
out  in  it  his  sense  of  fine  shapes  and  curves  and  proportions: 
it  may  be,  actually,  a  work  of  art.  The  same  thing  holds  for 
shapes  of  letters.  And  your  chair,  or  your  letter  (if  a  true  art- 
ist made  it)  will  have,  besides  its  good  looks,  a  suitability  to 
the  nth  degree  to  be  sat  in,  or  stamped  on  paper  and  read. 
That  explains,  in  a  way,  why  the  experts  rave  over  the  fine 
shapes  of  letters;  but  it  fails  to  explain  wherein  the  shapes  are 
fine.  If  you  seek  to  go  further  with  the  inquiry,  theories  will  be 
your  only  answer.  Here  is  a  theory  that  the  proponent  thinks 
may  have  sense  in  it :  Fine  type  letters  were,  in  the  first  place, 
copies  of  fine  written  letters.  Fine  written  letters  were  fine  be- 
((jnc  point  leaded) 


ABCDEFGHI,IKLMNOPQRSTUVWXYZ& 

ABCDEFGHUKLMI^OPQRSTVVU'XYZ& 

ABCDEFCHIJKLMNOPQRSTUVWXYZ&: 

abcdefghijklmnopqrstuvwxyzfiflffffifH  {$£..:;*-'?  !*t:g11)  1234567890 
abcdefghijklmuopqrstuvwxyzfi/lffffiffl  {$£,.:;'-'?!  V*W  1234567890 

ONE-LETTER  ITALIC.  SPECIAL  NO.  5 
abode jgh  ijklmnopqrstuvwxyz 


TRUE-CUT  SMALL  CAPS.  SPECIAL  NO.  5 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 


Matrix  Information :  6A192.  Lower  case  alphabet,  81  points 
channel  magazine.  Code  word,  ILBU. 


Figures,  .0415;  comma,  period  and  thin  space,  .0277.  Runs  in  90 


-('"LINOTYPE""')- 


7 

POINT 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY 
DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  OF  TYPE?  WHAT 

How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in  the 


How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to 
their  eyes?  Good  design  is  always  practical  design.  And 
what  they  see  in  a  good  type  design  is,  partly,  its  excel- 
lent practical  fitness  to  perform  its  work.  It  has  a  "heft" 
and  balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its  parts 
made  nicely  to  the  right  size  to  do  exactly  the  work 
that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor 
"skinny"  and  weak,  no  waste  of  material  and  ■  j  lack  of 
strength.  And,  beyond  that,  the  chair  may  have  been 
made  by  a  man  who  worked  out  in  it  his  sense  of  fine 
shapes  and  curves  and  proportions:  it  may  be,  actually, 
a  work  of  art.  The  same  thing  holds  for  shapes  of  letters. 
And  your  chair,  or  your  letter  (if  a  true  artist  made  it) 
will  have,  besides  its  good  looks,  a  suitability  to  the  nth 
degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That 
explains,  in  a  way,  why  the  experts  rave  over  the  fine 
shapes  of   letters;    but   it   fails  to  explain   wherein   the 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  tfhy  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  of  type?  WTiat 

(solid) 


art  of  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to 
their  eyes?  Good  design  is  always  practical  design.  And 
what  they  see  in  a  good  type  design  is,  partly,  its  excel- 
lent practical  fitness  to  perform  its  work.  It  has  a  "heft" 
and  balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its  parts 
made  nicely  to  the  right  size  to  do  exactly  the  work 
that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor 
"skinny"  and  weak,  no  waste  of  material  and  no  lack  of 
strength.  And,  beyond  that,  the  chair  may  have  been 
made  by  a  man  who  worked  out  in  it  his  sense  of  fine 
shapes  and  curves  and  proportions:  it  may  be,  actually, 
a  work  of  art.  The  same  thing  holds  for  shapes  of  letters. 
And  your  chair,  or  your  letter  (if  a  true  artist  made  it) 
will  have,  besides  its  good  looks,  a  suitability  to  the  nth 
degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That 
explains,  in  a  way,  why  the  experts  rave  over  the  fine 
shapes  of  letters;  but  it  fails  to  explain  wherein  the 
shapes  are  fine.  If  you  seek  to  go  further  with  the  in- 
(ouc  point  leaded) 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHl}KLMNOPQRSrUVWXYZ& 

ABCDEFCHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflffflfifB  ($£.. :;'-'?!  *tt§D  1234567890 
abcdclghijklmnopqrstuvwxyzfiflfffiffl ($£,.:;'■'?!   im)  1234567890 


Matrix  Information :  7A94.  Lower  case  alphabet 
channel  magazine.  Code  word,  ILCY. 


92  points.  Figures.  .0484;  comma 


period  and  tliin  space,  .0277.  Runs  in  90 


46 


ItODOIVI 
BOOK 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DES 
WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  0 


How  IS  ONE  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  design 
is  always  practical  design.  And  what  they  see  in  a 
good  type  design  is,  partly,  its  excellent  practical 
fitness  to  perform  its  work.  It  has  a  "heft"  and  bal- 
ance in  all  of  its  parts  just  right  for  its  size,  as  any 
good  tool  has.  Your  good  chair  has  all  of  its  parts 
made  nicely  lo  the  right  size  to  do  exactly  the  work 

(solid) 

The  same  thing  holds  for  shapes  of  letters.  And  yvur 
chair,  or  your  letter  (if  a  true  artist  made  it)  ivill 
have,  besides  its  good  looks,  a  suitability  to  the  nth 
degree  to  be  sat  in,  or  stamped  on  paper  and  read. 

(Un,--Lcltrf  Italic) 


How  IS  ONE  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  design 
is  always  practical  design.  And  what  they  see  in  a 
good  type  design  is,  partly,  its  excellent  practical 
fitness  to  perform  its  work.  It  has  a  "heft"  and  bal- 
ance in  all  of  its  parts  just  right  for  its  size,  as  any 
good  tool  has.  Your  good  chair  has  all  of  its  parts 
made  nicely  to  the  right  size  to  do  exactly  the  work 
tliat  the  chair  has  to  do,  neither  clumsy  and  thick, 
nor  "skinny"  and  weak,  no  waste  of  material  and 
no  lack  of  strength.  And,  beyond  that,  the  chair 
may  have  been  made  by  a  man  who  worked  out  in 

I  one  puinl  IcaJiil) 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGH1JKLMN0PQRSTUVWXYZ& 

ABCDEFGIIIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfill ffffiffl  ($,£..:  :'-'?!*tt§lI)  1234567890 
abcdejghijklmnopqrstuvwxyzfiflffffifjl  ( $£,.:  ;'■'?!    ttSV  1234567890 


ONE-LETTER  ITALIC,  SPECIAL  NO,  5 

abcdcfghijhlmnopqrstuinvxyz 


TRUE-CUT  SMALL  CAPS,  SPECIAL  NO.  5 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 


Matrix  Injormatian  :  ,SA-SI).  I,.i\vc-r  else  alpli.-ilicl .  HU  pnnils.   iMgiirr-s,  .OS.S.I;  o>iiiin;i,  iii-riod  anil  tliiii  sp.ue.  .1)277.  ];iiiis  in  90 
iliaiiiicl  nia:-;a/iiic.  (  i.Je  vv.ud,  Il,t;P. 


8 

POINT 


-(      LINOTYPE"  > 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHE 
DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A 

How  IS  ONE  to  assess  and  evaluate  a  type  face 
in  terms  of  its  esthetic  design?  Why  do  the 


How  IS  ONE  to  assess  and  evaluate  a  type  face 
in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  a 
specific  face  of  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design  is, 
partly,  its  excellent  practical  fitness  to  per- 
form its  work.  It  lias  a  "heft"  and  balance  in 
all  of  its  parts  just  right  for  its  size,  as  any 

(solid) 

The  same  thing  holds  for  shapes  of  letters.  And 
your  chair,  or  your  letter  (if  a  true  artist  made  it) 
will  have,  besides  its  good  looks,  a  suitability  to 
the  nth  degree  to  be  sat  in,  or  stamped  on  paper 

(Om--[.ctt,'i  Italic) 


pace-makers  in  the  art  of  printing  rave  over  a 
specific  face  of  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design  is, 
partly,  its  excellent  practical  fitness  to  per- 
form its  work.  It  has  a  "heft"  and  balance  in 
all  of  its  parts  just  right  for  its  size,  as  any 
good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  exact- 
ly the  work  that  the  chair  has  to  do.  neither 
clumsy  and  thick,  nor  "skinny"  and  weak,  no 

(one  point  leaded) 


ABCDEFGHIJKLMNOP0RSTUVWXYZ& 
ABCDEFGHlJKLlMNOPQRSTUVlf'XYZcK: 

ABCDEFCHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflffffiffl  ($£..:;'-'?  !*t1: §11)  1234567890 
abcdefghijklmiiopqrstuvwxyzfijlfjjjiffi  ( $£,. : ; '-' ?  !   HW  1234567890 


ONE-LETTER   ITALIC,  SPECIAL  NO.  5 

abcdefghijklmnopqrstuvwxyz 


TRUE-CUT  SMALL  CAPS.  SPECIAL  NO    5 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 


Matii.v  /H/<.rmu/i())i.-  'JAUM,   I.ourr  r.- 
cliannel  nuiKazine.  Code  word.  II. IX. 


alidi.dipt,   11-4  p.iiiils.  Figures.  .()(i2 


ima.  iieriod  and  Ihin  spaie,  .O.ill.   Run 


9 

POINT 


L   )  U 


47 


POINT 


BODOIVI 
BOOK 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  EST 
DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVE 
How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the 
lU  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in 

it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  practical  de- 
sign. And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent  practical  fitness  to 
perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any 
good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do  ex- 
actly the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and  weak, 
no  waste  of  material  and  no  lack  of  strength.  And,  beyond  that,  the  chair  may  have  been 
made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and  curves  and  proportions: 
it  may  be,  actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of  letters.  And  your 
chair,  or  your  letter  (if  a  true  artist  made  it)  will  have,  besides  its  good  looks,  a  suitabil- 
ity to  the  7Jth  degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That  explains,  in  a  way, 
why  the  experts  rave  over  the  fine  shapes  of  letters;  but  it  fails  to  explain  wherein  the 
shapes  are  fine.  If  you  seek  to  go  further  with  the  inquiry,  theories  will  be  your  only  an- 
swer. Here  is  a  theory  that  the  proponent  thinks  may  have  sense  in  it:  Fine  type  letters 
were,  in  the  first  place,  copies  of  fine  written  letters.  Fine  written  letters  were  fine  because 
they  were  produced  in  the  most  direct  and  simple  way  by  a  tool  in  the  hands  of  a  person 
expert  in  its  use,  by  a  person,  moreover,  who  was  an  artist,  i.e.,  a  person  equipped  to  make 
sound  judgments  about  lines,  curves,  proportions,  etc.  The  artist  of  that  moment  when 
printing  was  invented  who  furnished  the  fine  written  patterns  for  type  was  (luckily  for 
printing)  working  at  the  top  notch  of  a  fine  tradition  of  calligraphy.  He  was  making 
sound  judgments  about  lines  and  curves  and  proportions  of  letters.  He  had  resurrected 
an  ancient  distinguished  style  of  writing  and  had  added  to  it  the  quality  of  his  own  fine 
taste.  His  letters  flowed  from  his  pen  easily  and  simply  without  any  tricks  or  affectations 
or  extraneous  embellishments.  He  was  simple  enough  and  artist  enough  to  let  the  imple- 
ment itself  (and  his  facile  hand)  shape  the  product.  The  fine  qualities  of  this  artist's  let- 
ter-forms were  carried  over  into  the  metal  types  and  sealed  up  there,  like  butterflies  in 

(tivo  point  leaded) 

77ie  same  thing  holds  for  shapes  oj  letters.  And  your  chair,  or  your  letter  (if  a  true  artist  made 
it)  will  have,  besides  its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped  on 
paper  and  read.  That  explains,  in  a  way,  why  the  experts  rave  over  the  fine  shapes  oj  letters; 
but  it  jails  to  explain  wherein  the  shapes  are  fine.  Ijyou  seek  to  go  jurther  with  the  inquiry, 

(One-Letter  Italic) 

ABCDEFGHI JKLMNOPQRSTUVWXYZ  & 
ABCDEFGH1JKLMN0PQRSTUVWXYZ& 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
abcdefghijklmnopqrstuvwxyzfiflffffiffl  ($£,.:;'-'?  !*tt§11)  1234567890 
abcdefghijklrnnopqrstuvwxyzfiflffffiffl  ($£,.:;'■'?!   nW  1234567890 

TRUE-CUT  SMALL  CAPS,  SPECIAL  NO.  5 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ONE-LETTER  ITALIC,  SPECIAL  NO    5 

abcdejghijklmnopqrstuvwxyz 

Matrix  Information:  I0A250.  Lower  case  alphabet,  122  points.  Figures,  .nf>9J;  comma,  period  and  thin  space.  .0J46.  Runs  in  90 
channel  magazine.  Code  word,  II.OR. 


48 


abcdefghijklmnopqrstuvwxyz 


Matrix  Injormalion  :  l-'Alf^fi.  I.uwpr  rase  alpli.ilicl .   \^7  imiiits.  Fit;nii-s,    (IXI;  (oiimi.i.  iieriml  niul  lliin  space  .0415.  Rniis  in  1(1 
rhaniicl  magazine.  Cudc  word.  ll.O/, 


12 


RODOIVI 
BOOK 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  0 
ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  O 

How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Wliy  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  point 
What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good 
design  is  always  practical  design.  And  what  they  see  in  a  good  type  design  is, 
partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has  a  "heft"  and  bal- 
ance in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair 
has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly  the  work  that  the 
chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of 
material  and  no  lack  of  strength.  And,  beyond  that,  the  chair  may  have  been 
made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and  curves  and  pro- 
portions: it  may  be,  actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of 
letters.  And  your  chair,  or  your  letter  ( if  a  true  artist  made  it )  will  have,  besides 
its  good  looks,  a  suitability  to  the  n\h  degree  to  be  sat  in,  or  stamped  on  paper 
and  read.  That  explains,  in  a  way,  why  the  experts  rave  over  the  fine  shapes  of 
letters;  but  it  fails  to  explain  wherein  the  shapes  are  fine.  If  you  seek  to  go  fur- 
ther with  the  inquiry,  theories  will  be  your  only  answer.  Here  is  a  theory  that  the 
proponent  thinks  may  have  sense  in  it:  Fine  type  letters  were,  in  the  first  place, 
copies  of  fine  written  letters.  Fine  written  letters  were  fine  because  they  were 
produced  in  the  most  direct  and  simple  way  by  a  tool  in  the  hands  of  a  person  ex- 
pert in  its  use,  by  a  person,  moreover,  who  was  an  artist,  i.e.,  a  person  equipped 
to  make  sound  judgments  about  lines,  curves,  proportions,  etc.  The  artist  of  that 

(t-.i'o  point  Iradrd) 

The  same  thing  holds  for  shapes  of  letters.  And  your  chair ,  dryoiir  letter  (if  a  true 
artist  made  it)  will  have,  besides  its  good  looks,  a  suitability  to  the  nth  degree  to  be 
sat  in,  or  stamped  on  paper  and  read.  That  explains,  in  a  way,  why  the  experts  rave 
over  the  fine  shapes  of  letters;  but  it  fails  to  explain  wherein  the  shapes  are  fine.  If 

(One-Letter  Italic) 

ABCDEFGHIJKLMNOP0RSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflffffilfl  ($£,.:;'-'? !*t$§!r)  1234567890 
abcdefghijklmnopqrstuinvxyzfiflffffiffl  ($£,.:;'-'?!  ti§1i;  1234567890 

TPUE-CUT   SMALL  CAPS,  SPECIAL  NO    5 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ONE-LETTER   ITALIC,  SPECIAL  NO    5 


49 


BODOIVI 
BOOK 


POINT 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN 
TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MA 
14  How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  de- 
sign ?  Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant 
to  their  eyes  ?  Good  design  is  always  practical  design.  And  what  they  see 
in  a  good  type  design  is,  partly,  its  excellent  practical  fitness  to  perform 
its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely 
to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither 
clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of  material  and  no 
lack  of  strength.  And,  beyond  that,  the  chair  may  have  been  made  by  a 
man  who  worked  out  in  it  his  sense  of  fine  shapes  and  curves  and  pro- 
portions: it  may  be,  actually,  a  work  of  art.  The  same  thing  holds  for 
shapes  of  letters.  And  your  chair,  or  your  letter  (if  a  true  artist  made  it) 
will  have,  besides  its  good  looks,  a  suitability  to  the  n\h  degree  to  be  sat 
in,  or  stamped  on  paper  and  read.  That  explains,  in  a  way,  why  the  ex- 
perts rave  over  the  fine  shapes  of  letters ;  but  it  fails  to  explain  wherein 
the  shapes  are  fine.  If  you  seek  to  go  further  with  the  inquiry,  theories 

(two  point  leaded) 

The  same  thing  holds  for  shapes  of  letters.  A  nd  your  chair,  or  your  letter  (if 
a  true  artist  made  it)  will  have,  besides  its  good  looks,  a  suitability  to  the 
nth  degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That  explains,  in  a 
way,  why  the  experts  rave  over  the  fine  shapes  of  letters;  but  it  fails  to  ex- 


(One-Letter  Italic) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&  1234567890 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&  1 234567890 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflffffiffl  ($£,.:  ;'-'?!*tt§1I) 
abcdefghijklmnopqrstuvwxyzfiflffffiffl  ($£,. : ;'-'  ?!  ft  §^) 

TRUE-CUT  SMALL  CAPS,  SPECIAL  NO    5 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ONE-LETTER  ITALIC,  SPECIAL  NO.  5 

abcdefghijklmnopqrstuvwxyz 

Malri.r  hilnrmalioii :  14An4.  Lower  case  alphabet,  152  points.  Figures,  .0968;  comma,  period  and  thin  space.  .0484.  Runs  in  90 
clianiicl  magazine.  Cede  word,  II-QI. 


50 


nODO!VI 
BOOK 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE 
FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of 
its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of 
printing  rave  over  a  specific  face  of  type?  What  do  they 
see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes? 
Good  design  is  always  practical  design.  And  what  they  see 
in  a  good  type  design  is,  partly,  its  excellent  practical  fit- 
ness to  perform  its  work.  It  has  a  "heft"  and  balance  in  all 
of  its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your 
good  chair  has  all  of  its  parts  made  nicely  to  the  right  size 
to  do  exactly  the  work  that  the  chair  has  to  do,  neither 
clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of 
material  and  no  lack  of  strength.  And,  beyond  that,  the 
chair  may  have  been  made  by  a  man  who  worked  out  in  it 
his  sense  of  fine  shapes  and  curves  and  proportions:  it  may 
be,  actually,  a  work  of  art.  The  same  thing  holds  for  shapes 


(four  point  leaded) 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflfffhffl 

12345  ($,.:;'-'?!)  67890 


LOGOTYPES 


ff a  ffe  ffo  ff r  ff s  ffu  ff y 

ERTaTeToTrTuTwTyTVaVeVoVWaWeWoW 

YaYeYoY  FAPATAVAWAYA 

Matrix  hiSuymalitni:  I.HAl-S.  I.iivver  case  al))lial)et.  1X7  points.  Figures,  .11(17.  Kims  in  'ill  ihaiim-l  iiiat;a/iTic.  If.  i>..inl  alimiincnt. 
('■kIc  wnril.  ILSU. 


18 

POINT 


51 


BODOIVI 
BOOK 


POINT 


How  is  one  to  assess  and  evaluate  a  type  face  in 
24     terms  of  its  esthetic  design?  Why  do  the  pace- 

'OINT  U  J  1 

makers  in  the  art  of  printing  rave  over  a  spe- 
cific face  of  type?  What  do  they  see  in  it?  Why 
is  it  so  superlatively  pleas  1234567890($,.:;'-'?!) 


30 

POINT 


(jour  point  leaded) 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdef  glii  j  klmnopqrstuvwxyz 

Matrix  Information :  24A115.  Lower  case  alphabet.  233  points.  Figures,  .1107.  Runs  in  90  channel  magazine.  22  point  alignment. 
Code  word,  ILTY. 

(-.^  LINOTYPE"') 


How  is  one  to  assess  and  evaluate  a 
type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the 
art  of  printi  1234567890 ($,:;^-7!) 


(six  foint  leaded) 


ABCDEFGHIJKLMNOPQRS 
TUVWXYZ& 

abcdefghijklmnopqrstuvwxyz 

Matrix  Information:  30A1O9.  Lower  case  alphahet,  298  points.  Figure  1.  .166;  2  to  0.  .1937.  Runs  in  73  channel  magazine;  also 
lower  case,  except  ni,  in  cap  channels  of  90  channel  magazine  with  caps  and  figures  in  34  channel  auxiliary  magazine.  28  point 
alignment.  Code  word,  ILUS. 


52 


BODOIVI 

BOOK 
ITALIC 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE 
FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of 
its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of 
printing  rave  over  a  specific  face  of  type?  What  do  they 
see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes? 
Good  design  is  always  practical  design.  And  what  they 
see  in  a  good  type  design  is,  partly,  its  excellent  practical 
fitness  to  perform  its  work.  It  has  a  ''heff^  and  balance  in 
all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has. 
Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right 
size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither 
clumsy  and  thick,  nor  '^skinny^'  and  weak,  no  waste  of 
material  and  no  lack  of  strength.  And,  beyond  that,  the 
chair  may  have  been  made  by  a  man  who  ivorked  out  in 
it  his  sense  of  fine  shapes  and  curves  and  proportions:  it 
may  be,  actually,  a  work  of  art.  The  same  thing  holds  for 


(four  point  leaded) 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiRfffhfR 
12345($,.: :'-'?!  )67890 


LOGOTYPES 


fa  fe  fo  fr  fs  ft  fu  fy  ffa  ffe  ffo  ffr  ffs  ffu  ffy 

FP.TaTe  To  Tr  Tu  Tw  Ty  T  Va  Ve  Vo  V.  Wa  We  Wo  W 

Ya  Ye  Yo  Y   FA  PA  TA  VA  WA  YA  Th  Wh 

^tatrix  Information  :  18A-11.  Lower  case  alphabet,  190  points.  Figures,  .1107.  Runs  in  90  channel  magazine.  \f>  puiiit  alignment. 
Code  word.  ILVA. 


18 

POINT 


53 


BODONI 

BOOK 
ITALIC 


24 

POINT 


30 

POINT 


How  is  one  to  assess  and  evaluate  a  type  face 
in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  a 
specific  face  of  type?  What  do  they  see  in  it? 
Why  is  it  so  superl  1234567890($,,r;-'?! ) 


(four  point  leaded) 


ABCDEFGHIJKLMNOPQRSTUVWXYZ 

abcdef ghijklmnopqrstuvwxyz  Th  Wh 

Matrix  Information:  24A167.  Lower  case  alphabet,  24S  points.  Figure  1,  .1383;  2  to  0,  .1522.  Runs  in  72  channel  magazine;  also 
lower  case  in  cap  channels  of  90  channel  magazine  with  caps  and  figures  in  34  channel  auxiliary  magazine.  22  point  alignment. 
Code  word,  ILWE. 


-(LINOTYPE"   > 


How  is  one  to  assess  and  evaluate  a 
type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the 
art  of  print  1234567890($,.:f-'?!) 


(six  point  leaded) 


ABCDEFGHIJKLMNOPQRS 
WVWXYZ& 

abcdef  ghijklmnopqrstuvwxyz 

Matrix  Information:  30A103.  Lower  case  alphabet,  296  points.  Figure  1,  .166;  2  to  0,  .1937.  Runs  in  72  channel  magazine;  also 
lower  case  in  cap  channels  of  90  channel  magazine  with  caps  and  figures  in  34  channel  auxiliary  magazine.  28  point  alignment. 
Code  word.  ILXL 


54 


BODOXI-COMPARISOX   OF  SIZES 

(LINOTYPE"    ) 


6  Toint  Rodoiii  with  Italic  and  Small  Caps  (6A158)  I.cnver  case  aliilialict.  82  points.  Fimires,  .0415 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pare-niakers  in  the  art  of  printi  12 
HOW  is  0!\E  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  desij^nY  Why  do  the  pace-makers  in  the  art  of  printi  VB 

7  Point  Podotii  with  Italic  and  Small  Caps  (7A92)  Lower  case  alpJiahct.  9G  points.  Figures,  .0484 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  estlietie  design?  Why  do  the  pace-makers  in  12 
HOW  IS  OISE  to  assess  and  evaluate  a  type  face  in  terms  oj  its  esthetic  desiiin?  Why  do  the  iiucetiiakers  in  vii 

8  Point  Bodoni  with  Italic  and  Small  Caps  (8A262)  Lower  case  ali)ha1)et.  109  points.  FiKUres.  .0553 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  desij^ti?  Why  ilo  the  pace  12 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace  VB 

10  Point  Bodoni  with  Italic  and  Small  Caps  (10A218)  Lower  case  alphabet.  132  points.  Figures.  .0692 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  12 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  VB 

12  Point  Bodoni  with  Italic  and  Small  Caps  (12A160)  Lower  case  alphabet.  145  points.  Figures,  .083 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  12 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  VB 

14  Point  Bodoni  with  Italic  and  Small  Caps  (14A94)  Lower  case  alphabet.  1G3  points.  Figures,  ,0968 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  e  12 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  e  vb 

16  Point  Bodoni  (16A21)  Lower  case  alphabet,  l.'!2  points.  Figures.  .1107 

HOW  IS  one  to  assess  and  evaluate  a  type  face  in  terms  of  12 

18  Point  Bodoni  (18A101)  Lower  case  alphabet.  208  points.  Figures.  .1107 

HOW  IS  one  to  assess  and  evaluate  a  type  face  in  1 12 

21  Point  Bodoni  (21A1J)  Lower  case  alphabet.  2^(',  points.  Figures.  .1245 

HOW  IS  one  to  assess  and  evaluate  a  type  f  12 

24  Point  Bodr,ni  (24A73)  Lower  case  alphabet,  2.',7  points.  Figures,  .1522 

HOW  IS  one  to  assess  and  evaluate  a  1 12 


30  Point  B(xIoni  (30A29) 


Lower  case  alphalict.  317  points.  Figures.  .1798 


HOW  IS  one  to  assess  and  eval  12 


36  Point  Bodoni  (36A17) 


Lower  ca-^e  alphabet.  385  points.  Figures.  .2213 


HOW  IS  one  to  assess  an  12 

24  Point  n.idoni  Condensed  (24A113)  Lower  case  alphabet.  2.'.?  points.  Figures.  .1107 

HOW  IS  one  to  assess  and  evaluate  a  type  fac  12 

30  Point  Bodoni  Condensed  (30AI53)  Lower  .  ase  alphabet.  2S,'^.  points.  Figures.  .166 

HOW  IS  one  to  assess  and  evaluate  12 


]X  Lt.int  R.idt.iii  Italic  dSAK"!?) 


Lower  case  alphabet.  207  points.  Figures,  .1107 


HOW  IS  one  to  assess  and  evaluate  a  type  face  in  1 12 

24  Point  Bodoni   Italic  l24Ali/'l  Lower  ci^e  .iliih.ibct.  2'./  points.   Figures,    1522 

HOW  IS  one  to  assess  and  evaluate  at  12 

30  Point  Bodoni  Italic  (30A105)  Lower  cise  aljiliabet.  32.x  points.  Figure  1.  .166:  2  to  0,  .1937 

HOW  IS  one  to  assess  and  eva  12 


Larger  si/cs  are  sh.iwn  in  A  I'  1.  section 


55 


LIST   OF    CHARACTERS 

in  Two-Letter  Fonts  ivith  Italic  and  Small  Caps 


ABCDEFGHIJKLMNOPQRSTUVWXYZ 
ABCDEFGHIJKLMNOPQRSTUVWXYZ 

ABCDEFGHIJKLMNOPQRSTUVWXYZ 

12345        abcdefghijklmnopqrstuvwxyz        67890 
VBCDE        abcdefghijklmnopqrstuvwxyz       fgrtj 


?/aiqo"-  —  yEffi/6N£pL 


12345       Z&:()flffiffl$»oe 
12345       X}&:()flffiffl$(eoe 


%  1/4  %  Vz  %  %  % 


X  Z  &  ^  (E 


fiflffffifflsece 

.  .  fiY  ff  V/  MKH 

67890   : : 
67890   : : 


@  %t $§![-[] 


-('°  LINOTYPE" ")- 


ONE-LETTER    ROMAN    LOGOTYPES 

SPECIAL    NO.    S 


fa  f e  f o  f r  f s  ft  f u  f y  ffa  if e  ffo  if r  ffs  ffu  ffy  f ,  f  f-  ff,  ff.  ff-  f  ff 

ONE-LETTER     ITALIC    LOGOTYPES 

FA  PATAVAWA  YA  Th  Wh 

ShcCIAL    NO.   5 

SafafefeffhjijiffhjljmfnfojoffpfrfsftfufuffyflfOjOff 

ONE-LETTER     ITALIC 
SPECIAL    NO.   5 

abcdefghijklmnopqrstuvwxyz 

TRUE-CUT    SMALL    CAPS 

SPECIAL    NO.    S 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

TWO-LETTER     LOGOTYPES 

F.  E  Ta  Te  To  Tr  Tu  Tw  Ty  T  Va  Ve  Vo  V  Wa  We  Wi  Wo  Wr  W  Ya  Ye  Yo  Y. 
F.  P.  Ta  Te  To  Tr  Tu  Tw  Ty  T.  Va  Ve  Vo  V  Wa  We  Wi  Wo  Wr  W.  Ya  Ye  Yo  Y 

fa  f e  f o  f  r  f s  ft  f u  fy  ffa  ffe  ffo  ff  r  ffs  ffu  ffy  f ,  f .  f-  ff ,  ff.  ff- 
fafefofrfsftfufyifaifeffoffrifsffuffyf,f.f.ff,ff.ff-fff 


56 


BODOIVI 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TEKMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PA 
MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  OF  TYPE?  WHAT  DO  THEY  SEE  IN  IT?  WHY 


How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its 
esthetic  design?  Why  do  the  pace-makers  in  the  art  of  print- 
ing rave  over  a  specific  face  of  type?  What  do  they  see  in 
it?  Why  is  it  so  superlatively  pleasant  to  tlieir  eyes?  Good  de- 
sign is  always  practical  design.  And  what  they  see  in  a  pood 
type  design  is,  partly,  its  excellent  practical  fitness  to  perform 
its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just 
right  for  its  size,  as  any  good  tool  has.  Your  nood  chair  has 
all  of  its  parts  made  nicely  to  tlie  right  size  to  do  exactly  llie 
work  that  (he  chair  has  to  do,  neither  clumsy  and  thick,  nor 
"skinny"  and  weak,  no  waste  of  material  and  no  lack  ot 
strength.  And,  beyond  that,  the  chair  may  have  been  made  by 
a  man  who  worked  out  in  it  his  sense  «f  fine  shapes  and  curves 
and  proportions:  it  may  be,  actually,  a  work  of  art.  The  same 
thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  let- 
ter (if  a  true  artist  made  it)  will  have,  besides  its  good  looks,  a 
suitability  to  the  ntli  degree  to  be  sat  in,  or  stamped  on  paper 
and  read.  That  explains,  in  a  way,  why  the  experts  rave  over 
the  fine  shapes  of  letters;  but  it  fails  to  explain  wherein  the 
shapes  are  fine.  If  you  seek  to  go  further  with  the  inquiry, 
theories  will  be  your  only  answer.  Here  is  a  theory  that  the 
proponent  thinks  may  have  sense  in  it  :  Fine  type  letters  were, 
in  the  first  place,  copies  of  fine  written  letters.  Fine  written 
letters  were  fine  because  they  were  produced  in  the  most  direct 
and  simple  way  by  a  tool  in  the  hands  of  a  person  expert  in 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its 
esthetic  design?  Why  do  the  pace-makers  in  the  art  of  print- 
ing  rave   over   a   specific   face   of   type?    What    do   they   see    in 

(solid)' 


How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its 
esthetic  design?  Why  do  the  pace-makers  in  the  art  of  print- 
ing rave  over  a  specific  face  of  type?  What  do  they  see  in 
it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  de- 
sign is  always  practical  design.  And  what  they  see  in  a  good 
type  design  is,  partly,  its  excellent  practical  fitness  to  perform 
its  work.  It  has  a  '■*heft"and  balance  in  all  of  its  parts  just 
right  for  its  size,  as  any  good  t<Kil  has.  Your  good  chair  has 
all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly  the 
work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor 
"skinny"  and  weak,  no  waste  of  material  and  no  lack  of 
strength.  And,  beyond  that,  the  chair  may  have  been  made  by 
a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and  curves 
and  proportions:  it  may  be,  actually,  a  work  of  art.  The  same 
thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  let- 
ter (if  a  true  artist  made  it)  will  have,  besides  its  good  looks,  a 
suitability  to  the  nth  degree  to  be  sal  in,  or  stamped  on  paper 
and  read.  That  explains,  in  a  way,  why  the  experts  rave  over 
the  fine  shapes  of  letters;  but  it  fails  to  explain  wherein  the 
shapes  are  fine.  If  you  seek  to  go  further  with  the  inquiry, 
theories  will  be  your  only  answer.  Here  is  a  theory  that  the 
proponent  thinks  may  have  sense  in  it :  Fine  type  letters  were, 
in  the  first  place,  copies  of  fine  written  letters.  Fine  written 
letters  were  fine  because  they  were  produced  in  the  most  direct 
and  simple  way  by  a  tool  in  the  hands  of  a  person  expert  in 
(one  point  leaded) 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ABCDEFGHIJKLM^OPQRSTUy^fXYZ& 

ABCDEFCHIJKLMNOPQRSTUVWXYZA 

abcdefghijklmnopqrstuvwxyzfiflffffiffl  ($£,.::'-'?  !*+!!••  )  1234567800 
ahcdefghijklmnopqrstuvwxyzfiflffffiffl($C..:r-'y!    tlSV  i-^*-*5678yf> 


6 

POINT 


Matrix  Information  :  ^Al-^-^-  I-"\\er  case  alpliahet.  S2  po 
channel  magazine.  Code  wurd.  IKNE. 


its.  Figures,  .0415 


periiid  and  thin  space,  .0277.  Runs  in  'JO 


-("LINOTYPE"   > 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  W 
DO  THE  PACEMAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  OF  TYPE?  WH 

How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  <lesi};n?  Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  of  type?  What 


How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant 
to  tlieir  eyes?  Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design  is,  partly,  its 
excellent  practical  fitness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good  chair  has  all  of 
its  parts  made  nicely  lo  the  right  size  to  do  exactly  the 
work  that  the  chair  has  to  do,  neither  clumsy  and 
thick,  nor  "'skinny'  and  weak,  no  waste  of  material 
and  no  lack  of  strength.  And,  beyond  that,  the  chair 
may  have  been  made  by  a  man  who  worked  out  in  it 
his  sense  of  fine  shapes  and  curves  and  proportions:  it 
may  be,  actually,  a  work  of  art.  The  same  thing  holds 
for  shapes  of  letters.  And  your  chair,  or  your  letter 
(if  a  true  artist  made  it)  will  have,  besides  its  good 
looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or 
stamped  on  paper  and  read.  That  explains,  in  a  way, 
why  the  experts  rave  over  the  line  shapes  of  letters; 

Hoiv  is  one  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in  the 
art  oj  printing  rave  over  a  specific  face  of  type?  What 

(solid) 


do  they  see  in  it?  Why  is  it  so  superlatively  pleasant 
to  their  eyes?  Good  design  is  alivays  practical  design. 
And  what  they  see  in  a  good  type  design  is,  partly,  its 
excellent  practical  fitness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  ot  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good  chair  has  all  of 
its  parts  made  nicely  to  the  right  size  to  do  exactly  the 
work  that  the  chair  has  lo  do,  neither  clumsy  and 
thick,  nor  "skinny"  and  weak,  no  waste  of  material 
and  no  lack  of  strength.  And,  beyond  that,  the  chair 
may  have  been  made  by  a  man  who  worked  out  in  it 
his  sense  of  fine  shapes  and  curves  and  proportions:  it 
may  be,  actually,  a  work  of  art.  The  same  thing  holds 
for  shapes  of  letters.  And  your  chair,  or  your  letter 
(if  a  true  artist  made  it)  will  have,  besides  its  good 
looks,  a  suitability  to  the  ;ilh  degree  to  be  sat  in,  or 
stamped  on  paper  and  read.  That  explains,  in  a  way, 
why  the  experts  rave  over  the  fine  shapes  of  letters; 
but  it  fails  to  explain  wherein  the  shapes  are  fine.  If 
( unr  point  leaded) 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMI\OPQRSTVI  W\YZ& 

ABCDEFOHIJKLM  NOI'QRSTIIVWXI  Z& 

abcdefghijklmnopqrstuvwxyzfifllfmffl  ($£,.:  :'-'?!*tt§1I)  1234367890 
ubcdefghijidmnopqrstuvwxyzfiflfjffiffl  (St,.:  ;•■'?'.    ni'i)  V23i5b7ii90 


7 

POINT 


Matrix  Information:  7A9-.  Lower  case  alphabet.  96  points.  Figures, 
channel  magazine.  Code  word,  IKOX. 


period  and  thin  space,  .0277.  Runs  in  90 


57 


BODOIVI 


8 

POINT 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DE 
WHY  DO  THE  PACEMAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE 
How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  design  is  always  practical  design.  And  what  they  see  in  a 
good  type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy 
and  thick,  nor  "skinny"  and  weak,  no  waste  of  material  and  no  lack  of  strength.  And,  beyond  that, 
the  chair  may  have  been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and  curves 
and  proportions:  it  may  be,  actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of  letters.  And 
your  chair,  or  your  letter  (if  a  true  artist  made  it)  will  have,  besides  its  good  looks,  a  suitability  to 
the  rath  degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That  explains,  in  a  way,  why  the  experts 
rave  over  the  fine  shapes  of  letters ;  but  it  fails  to  explain  wherein  the  shapes  are  fine.  If  you  seek  to 
go  further  with  the  inquiry,  theories  will  be  your  only  answer.  Here  is  a  theory  that  the  proponent 
thinks  may  have  sense  in  it :  Fine  type  letters  were,  in  the  first  place,  copies  of  fine  written  letters. 
Fine  written  letters  were  fine  because  they  were  produced  in  the  most  direct  and  simple  way  by  a 
tool  in  the  hands  of  a  person  expert  in  its  use,  by  a  person,  moreover,  who  was  an  artist,  i.e.,  a  per- 
son equipped  to  make  sound  judgments  about  lines,  curves,  proportions,  etc.  The  artist  of  that 
moment  when  printing  was  invented  who  furnished  the  fine  written  patterns  for  type  was  (luckily 
for  printing)  working  at  the  top  notch  of  a  fine  tradition  of  calligraphy.  He  was  making  sound 
judgments  about  lines  and  curves  and  proportions  of  letters.  He  had  resurrected  an  ancient  dis- 
tinguished style  of  writing  and  had  added  to  it  the  quality  of  his  own  fine  taste.  His  letters  flowed 
from  his  pen  easily  and  simply  without  any  tricks  or  affectations  or  extraneous  embellishments. 
He  was  simple  enough  and  artist  enough  to  let  the  implement  itself  (and  his  facile  hand)  shape  the 
product.  The  fine  qualities  of  this  artist's  letter-forms  were  carried  over  into  the  metal  types  and 
sealed  up  there  like  butterflies  in  amber.  It  is  argued,  however,  that  the  ascription  of  beauty  to 
type  letters  by  this  route  (i.e.,  via  the  standards  of  calligraphy)  is  false  logic.  If  the  natural  and 
simple  and  tastefully  controlled  use  of  an  implement  produces  a  fine  result,  why  not  start  with  the 
process  of  founding  type  instead  of  with  the  process  of  writing  with  a  pen?  Why  not  cut  punches 
and  strike  matrices  and  cast  type  metal  simply  and  naturally  and  tastefully,  and  make  types  that 
reflect  a  suitable  artistic  use  of  the  process  of  typefounding?  I  think  that  the  argument  is  estheti- 
cally  sound.  There  is  no  common  opinion  about  the  legibility  or  grace  or  vigor  of  various  type 
faces  that  can  be  quoted  as  authority.  One  man's  opinion  is  as  good  as  another's.  Each  commentator 
has  his  own  pet  designs  and  his  own  reasons  for  thinking  them  good.  Some  kind  of  comment  on  the 
various  type  faces  in  general  use  is  desirable  in  this  section  merely  for  the  purpose  of  bringing  the 
argument  to  a  focus  on  actual  examples.  The  comment  that  follows  has  no  more  weight  than  this :  it 

(tzvo  point  haded) 

The  same  thing  holds  Jor  shapes  of  letters.  And  your  chair,  or  your  letter  (ij  a  true  artist  made  it)  tvill 
have,  besides  its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped  on  paper  and  read. 
That  explains,  in  a  way,  why  the  experts  rave  over  the  fine  shapes  of  letters;  but  it  fails  to  explain 
wherein  the  shapes  are  fine.  If  you  seek  to  go  further  ivith  the  inquiry,  theories  will  be  your  only  an- 

(One-Leltcr  Italic) 

ABCnEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflffffiffl  ($£,.:  ;'-'?  !*tt§11)  1234567890 
abcdefghijklmnopqrstuvwxyzfiflffffiffl  ($£,.: ;'-'?.'   tHUJ  1234567890 

TRUE-CUT  SMALL  CAPS,  SPECIAL  NO.  5 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ONE-LETTER   ITALIC,  SPECIAL  NO.  5 

abcdefghijklmnopqrstuvwxyz 

Matrix  Information :  8A262.  Lower  case  alphabet.  109  points.  Figures.  .0553;  comma,  period  and  thin  space.  .0277.  Runs  in  90 
channel  magazine.  Code  word,  IKPI. 


58 


POINT 


BODOIVI 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS 
ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRI 

How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  lU 

do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is 
always  practical  design.  And  wliat  tliey  see  in  a  good  type  design  is,  partly,  its  ex- 
cellent practical  fitness  to  perform  its  work.  It  has  a  "heft"  and  halance  in  all  of  its 
parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts 
made  nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do, 
neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of  material  and  no  lack 
of  strength.  And,  beyond  that,  the  chair  may  have  been  made  by  a  man  who 
worked  out  in  it  his  sense  of  fine  shapes  and  curves  and  proportions:  it  may  be, 
actually,  a  work  of  art.  The  same  thing  liolds  for  shapes  of  letters.  And  your  chair, 
or  your  letter  (if  a  tiue  artist  made  it)  will  have,  besides  its  good  looks,  a  suitabil- 
ity to  the  nth  degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That  explains,  in 
a  way,  why  the  experts  rave  over  the  fine  shapes  of  letters;  but  it  fails  to  explain 
wherein  the  shapes  are  fine.  If  you  seek  to  go  further  with  the  inquiry,  theories 
will  be  your  only  answer.  Here  is  a  theory  that  the  pi'oponent  thinks  may  have 
sense  in  it:  Fine  type  letters  were,  in  the  first  place,  copies  of  fine  written  letters. 
Fine  written  letters  were  fine  because  they  were  produced  in  the  most  direct  and 
simple  way  by  a  tool  in  the  hands  of  a  person  expert  in  its  use,  by  a  person,  more- 
over, who  was  an  artist,  i.e.,  a  person  equipped  to  make  sound  judgments  al)out 
lines,  curves,  proportions,  etc.  The  artist  of  that  moment  when  printing  was  in- 
vented who  furnished  the  fine  written  patterns  for  type  was  (luckily  for  printing) 
working  at  the  top  notch  of  a  fine  tradition  of  calligraphy.  He  was  making  sound 
judgments  about  lines  and  curves  and  proportions  of  letters.  He  had  resurrected 
an  ancient  distinguished  style  of  writing  and  had  added  to  it  the  quality  of  his 
own  fine  taste.  His  letters  flowed  from  his  pen  easily  and  simply  without  any  tricks 
or  affectations  or  extraneous  embellishments.  He  was  simple  enough  and  artist 

(two  fioint  leaded i 

The  same  thing  holds  for  sha  pes  of  letters.  And  your  chair,  or  your  letter  (if  a  true  art- 
ist made  it)  ivill  have,  besides  its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in, 
or  stamped  on  paper  and  read.  That  explains,  in  a  nay.  tvhy  the  experts  rave  over  the 
fine  shapes  of  letters;  but  it  fails  to  explain  wherein  the  shapes  are  fine.  If  you  seek  to 

lOiu--l.cttt'r  Itatii) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
A  BCDEFGHIJKLMNOPQRSTU  V  W'X  YZ& 

ABCDEFGHIJKLIVINOPQRSTUVWXYZ& 
abcdcfgliijklmnopqrstuvwxvzfiflffffiffl  ($£,.:;'-*?  !*tJ:§^)  1234,%7890 
abcdefghijklmnopqrstuvwxyzfifljfffiffl  f.?£...-;'-\^.'   ftM)  1234567890 

TRUE-CUT  SMALL  CAPS,  SPECIAL  NO.  5 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ONE-LETTER   ITALIC,  SPECIAL  HO,  5 

abcdefghijklmnopqrstuvwxyz 

Matrix  hifiii  Illation :  inA218.  Lower  case  alplKilicl.  ]  32  points.  Figures.  .Od').';  cniinn.i.  period  aiul  tliin  sp.Ke.  .n,'!4r,.  Runs  in  90 
channel  niaKa/ine.  Code  word,  IK(J(). 


59 


BODONI 


12 

POINT 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS 
OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE 
How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design.  And  what  they  see  in  a  good 
type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its  work.  It 
has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good 
tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to 
do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor 
"skinny"  and  weak,  no  waste  of  material  and  no  lack  of  strength.  And,  be- 
yond that,  the  chair  may  have  been  made  by  a  man  who  worked  out  in  it  his 
sense  of  fine  shapes  and  curves  and  proportions:  it  may  be,  actually,  a  work 
of  art.  The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or  your 
letter  (if  a  true  artist  made  it)  will  have,  besides  its  good  looks,  a  suitability 
to  the  nth  degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That  explains, 
in  a  way,  why  the  experts  rave  over  the  fine  shapes  of  letters ;  but  it  fails 
to  explain  wherein  the  shapes  are  fine.  If  you  seek  to  go  further  with  the 
inquiry,  theories  will  be  your  only  answer.  Here  is  a  theory  that  the  pro- 
ponent thinks  may  have  sense  in  it :  Fine  type  letters  were,  in  the  first  place, 
copies  of  fine  written  letters.  Fine  written  letters  were  fine  because  they 
were  produced  in  the  most  direct  and  simple  way  by  a  tool  in  the  hands  of  a 
person  expert  in  its  use,  by  a  person,  moreover,  who  was  an  artist,  i.e.,  a  per- 

(two  point  leaded) 

The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  letter  (if  a 
true  artist  made  it)  ivill  have,  besides  its  good  looks,  a  suitability  to  the  nth  de- 
gree to  be  sat  in,  or  stamped  on  paper  and  read.  That  explains,  in  a  way,  why 
the  experts  rave  over  the  fine  sh  ipes  of  letters;  but  it  fails  to  explain  wherein 

(One-Letter  Italic) 

ABCDEFGHIJKLMNOP(;)RSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflffffiffl  ($£,. :  ;'-'?!*t$§1I)  1234567890 
abcdefghijklmnopqrstuvwxyzfiflffffiffl  ($£,. : ,-'-' ?!  \i§V  1234567890 

TRUE-CUT  SMALL  CAPS,  SPECIAL  NO    5 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ONE-LETTER  ITALIC,  SPECIAL  NO.  5 


ahcdef  ghijklm  n  opqrstuvwxyz 


Matrix  Injormation:  12AlfiO.  Lower  case  alplial)et.  145  points.  Figures.  .083;  comma,  period  and  thin  space.  .0415.  Runs  in  90 
channel  magazine.  Code  word,  IKRU. 


60 


(One-Letter  Italic) 


ABCDEFGHIJKLMNOPQRSTUVWXYZ&  1234567890 
ABCDEFGHIJKLMNOPQRSTUVWXYZiSc  1234567890 

ABCDEFGHIJKLMNOPQRSTUVWXYZ«& 
abcdefghijklmnopqrstuvwxyzfiflffffiffl  ($£,.:  ;'.'?!*tt§TI) 
ahcdefghijklmnopqrstuvwxyzfiMffiffl  f|£,. :;'-'?/   \X\V 

TPUE-CUT  SMALL  CAPS.  SPECIAL  (lO     5 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ONE-LETTER  ITALIC,  SPECIAL  NO    5 

ahcdefgliijldmnopqrstuvivxyz 

Matrix  Itijormation :  14A94.  Lower  case  alphabet.  163  points.  Figures.  .O'JOS;  coiiniia.  pcriuil  .mcl  tliin  space,  .0484.  Runs  in  'JO 
cliannel  maga/ine.  Code  wtird,  IKSY. 


POINT 


BODONI 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN 
TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-M 
How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  14 
design  ?  Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a 
specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superla- 
tively pleasant  to  their  eyes?  Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent  prac- 
tical fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of 
its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair 
has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly  the  work 
that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and 
weak,  no  waste  of  material  and  no  lack  of  strength.  And,  beyond 
that,  the  chair  may  have  been  made  by  a  man  who  worked  out  in  it 
his  sense  of  fine  shapes  and  curves  and  proportions :  it  may  be,  actu- 
ally, a  work  of  art.  The  same  thing  holds  for  shapes  of  letters.  And 
your  chair,  or  your  letter  (if  a  true  artist  made  it)  will  have,  besides 
its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped 
on  paper  and  read.  That  explains,  in  a  way,  why  the  experts  rave 
over  the  fine  shapes  of  letters;  but  it  fails  to  explain  wherein  the 

( t7vo  Point  leaded) 

The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  let- 
ter (if  a  true  artist  made  it)  will  have,  besides  its  good  looks,  a  suitabil- 
ity to  the  nth  degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That 
explains,  in  a  ivay,  uhy  the  experts  rave  over  the  fine  shapes  of  letters; 


61 


BODOIVI 


16 

POINT 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FA 
CE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  T 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  es- 
thetic design?  Why  do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  tyj^e?  What  do  they  see  in  it?  Why 
is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is 
always  practical  design.  And  what  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fitness  to  perform  its 
work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right 
for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  exactly  the  work  that 
the  chair  has  to  do— neither  clumsy  and  thick,  nor  "skinny" 
and  weak— no  waste  of  material  and  no  lack  of  strength.  And, 
beyond  that,  the  chair  may  have  been  made  by  a  man  who 
worked  out  in  it  his  sense  of  fine  shapes  and  curves  and  pro- 
portions—it may  be,  actually,  a  work  of  art.  The  same  thing 
holds  for  shapes  of  letters.  And  your  chair,  or  your  letter  (if 
a  true  artist  made  it)  will  have,  besides  its  good  looks,  a  suit- 
ability to  the  nth  degree  to  be  sat  in,  or  stamped  on  paper 
and  read.  That  explains,  in  a  way,  why  the  experts  rave  over 
the  fine  shapes  of  letters;  but  it  fails  to  explain  wherein  the 
shapes  are  fine.  If  you  seek  to  go  further  with  the  inquiry, 
theories  will  be  your  only  answer.  Here  is  a  theory  that  the 
proponent  thinks  may  have  sense  in  it:  Fine  type  letters 
were,  in  the  first  place,  copies  of  fine  written  letters.  Fine 


(two  point  leaded) 


ABCDEFGHIJKLMNOFQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflffffiffl 
12345  (I,.:;'-'?!)  67890 

Matrix  hiformation  :  I6A21.  Lower  case  alphabet.  182  points.  Figures.  .1107.  Runs  in  90  channel  magazine.  15  point  alignment. 
Code  word,  ZEKLU. 


62 


BODONI 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  T 
FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  W 
How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant 
to  their  eyes?  Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design  is,  partly,  its 
excellent  practical  fitness  to  perform  its  work.  It  has 
a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  exactly  the 
work  that  the  chair  has  to  do,  neither  clumsy  and 
thick,  nor  "skinny"  and  weak,  no  waste  of  material 
and  no  lack  of  strength.  And,  beyond  that,  the  chair 
may  have  been  made  by  a  man  who  worked  out  in  it 
his  sense  of  fine  shapes  and  curves  and  proportions:  it 


(four  point  leaded) 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
abcdefghijklmnopqrstuvwxyzfiflffffifH 

12345  ($,.:;'-'?!)  67890 

ABCDEFGHIJKLMNOPQRSTUVWXYZ«& 

Stnall  Caps  not  included  in  fonts,  but  may  be  included  as  extras 
LOGOTYPES 

fa  f e  f o  f s  f  y  ffa  ffe  ffo  ffr  ffs  ffu  ffy 
E  E  Ta  To  T.  Va  Ve  Vo  Y.  Wa  We  Wo  W.  Ya  Ye  Yo  Y 

Mntii.r  hilaimnliiin :  18A101.  Lower  case  alphabet.  208  points.  Figures,  .1107.  Runs  in  90  channel  magazine.  16  point  alignni. 
Ccule  word.  TKTA. 


18 

POINT 


63 


BODOIVI 


21 

POINT 


24 

POINT 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE 
How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  spe- 
cific face  of  type?  What  do  they  see  in  it?  Why 
is  it  so  superlatively  pleasant  to  their  eyes? 
Good  design  is  always  p  1234567890 ($,.:;'-'?!) 


(hmr  toint  leaded  I 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdef  ghi  j  klmiiopqrstu\Tvxyz 

Matrix  Information:  2IA13.  Lower  case  alphabet,  236  points.  Figures,  .1245.  Runs  in  72  channel  magazine;  also  lower  case  in 
cap  channels  of  90  channel  magazine  with  caps  and  figures  in  34  channel  auxiliary  magazine.  18  point  alignment.  Code  word, 
ZAIC. 


-(LINOTYPE    > 


HOW  IS  ONE  TO  ASSESS  AND  EVAL 
How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specifi  1234567890 ($,.:;^-7!) 


(four  point  leaded) 


ABCDEFGHIJKLMNOPQRSTUVWXY 

abcdefghijklmnopqrstuvwxyz 

ABCDEFGHIJKLMNOP0RSTUYWXYZ& 

Small  Caps  not  included  in  fonts,  but  may  be  included  as  extras 

Matrix  Information:  24A73.  Lower  case  alphabet.  267  points.  Figures.  .1522.  Runs  in  72  channel  magazine;  also  lower  case, 
except  m.  in  cap  channels  of  90  channel  magazine  with  caps  and  figures  in  34  channel  auxiliary  magazine.  22  point  alignment. 
Code  word.  IKUR. 


64 


BODOIVI 


How  is  one  to  assess  and  evaluate 
a  type  face  in  terms  of  its  esthetic 
design?  Why  d  abcdefghijklmnop 
qrstuvwxyz  1234567890  ($,:f-7!) 


six  fi""t  IcaJcJl 


ABCDEFGHIJKLMNOPQR 
STUVWXYZ& 

Matrix  hiUnmativn  :  KlA-''.  I-<nver  case  alphabet.  .117  points.  FiKures.  .170S.  Runs  in  72  thannrl  iiiaKa/ini-,  _'s  point  aliwinnent. 
(ode  word.  IKUZ. 


-(LINOTYPE     )- 


How  is  one  to  assess  and  eval 
uate  a  type  face  in  terms  of 
its  es  abcdefghijklmnopqrst 

uvwxyzl234567890  (»,.:f-'?!) 


(six  foint  leaded) 


ABCDEFGHIJKLMNOP 
QRSTUVWXYZ& 

Matrix  Injormation  :  ?>G^\7,  1-ower  case  alphahel.  .''M?  points.  Figures.  .JJl.^.  Runs  in  Wide  72  ih.iniiel  maKa/inc;  also  li)\ver 
case  in  cap  channels  of  72  channel  magazine  with  caps  and  rigiiies  in  Wide  ?>A  clianmd  auxiliary  magazine.  34  point  alisnuu-nt. 
Codeword,  IKVE. 


30 

POINT 


36 

POINT 


65 


BODOI\I-14  to  72  POINT-APL 

-Purpose  Lino 
L  range  also  i; 


Specimens  on  this  page  are  composed  on  the  All-Purpose  Linotype.  Additional  sizes  up  to  and  including  144  point 
are  available  on  special  order.  A-P-L  range  also  includes  14,  18,  24,  30  and  36  point  sizes. 


-C— LINOTYPE—)- 


£ 


72  Puiiit  Bodoni  (72A1006)  Lower  case  alphabet,  777  points.  Code  word.  ZAKPE 

To  point  bad 


a  Century  ago 


fiU  Point  Boiloni  (60A1006)  Lower  case  alphabet,  M2  points.  Code  word,  ZAKOR 

Bodoni  designed 
the  types  bearing 

48  Point  Bodoni   (48A1006)   Lower  rase  alphabet.  510  points.  Code  word.  ZAKOK 

His  name.  Beginning 
In  the  19th  Century 

42  Point  Bodoni   (42A1006)   Lower  case  alphabet.  438  points.  Code  word.  7AKOD 

Because  old-style  romans 
Retaining  certain  Gothic 


66 


BODOIVI 
ITALIC 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TY 
EACE  IN  TERMS  OE  ITS  ESTHETIC  DESIGN?  W 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Wliy  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  of  type?  Wliat 
do  they  see  in  it?  Wiy  is  it  so  superlatively  pleasant 
to  their  eyes?  Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design  is,  partly,  its 
excellent  practical  fitness  to  perform  its  work.  It  has 
a^'heff^ and  balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  exactly  the 
work  that  the  chair  has  to  do,  neither  clumsy  and 
thick,  nor  ''skinny^^  and  iveak,  no  waste  of  material 
and  no  lack  of  strength.  And,  beyond  that,  the  chair 
may  have  been  made  by  a  mau  ivho  worked  out  in  it 
his  sense  of  fine  shapes  and  curves  and  proportions:  it 


(jour  t>oinl  leaded) 


ABCDEEGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopcp'stuvwxyzfiflffffiffl 
12345  ($,.:;'-'?  1)67890 


LOGOTYPES 


fafefofrfsftfufyfTaffeffoffrffsffuffyf 

TaToVaVeVoWaWeWiWoW.YaYeYoY. 

EA  FA  TA  VA  WA  YA  Tli  Wli 

Matrix  hjfoniiufini,  :  ISAI-V^.   I.Dwcr  cnse  alplinlict.  J()7  points.    lM«urcs.  .1107.   Runs  in  On  cli.-mnnl   innk'a/ine.    U.  point  align- 
ment. Code  word.  IKWI. 


18 

POINT 


67 


BODOIVI 
ITALIC 


POINT 


30 

POINT 


68 


How  is  one  to  assess  and  evaluate  a  type 
24     face  in  tenns  of  its  esthetic  desimi.  Wliy 

'OINT  d  J 

do  the  pace-makers  in  the  art  of  printing 
rave  over  a  sped  1234567890  ($^.:;'-?l) 

(four  point  leaded) 

ABCDEFGHIJKLMNOPQRSTUVWX 

ahcde  fghijklmnopqrstuvwxyz 

LOGOTYPES 

K  Th  T.WIiWiW.V.PA 

Matrix  Information :  24A169.  Lower  case  alphabet,  267  points.  Figures.  .1522.  Runs  in  72  channel  magazine:  also  lower  case  in 
cap  channels  of  90  channel  magazine  with  caps  and  figures  in  34  channel  auxiliary  magazine.  22  point  alignment.  Code  word, 
IKXO. 


-(     LINOTYPE-->- 


How  is  one  to  assess  and  evaluate 
a  type  face  in  terms  of  its  esthetic 
design?  Why  do  the  pace-makers 
in  the  art  1234567890( $,.:;'-'?!) 


(six  point  leaded) 


ABCDEFGHIJKLMNOPQRS 
TUVWXYZ& 

ahcde  f  gliijklmnopqrstuvwxyz 

Matrix  Information :  30A105.  Lower  case  alphabet,  328  points.  Figure  1,  .]6f»;  2  to  0,  .1937.  Runs  in  Wide  72  channel  magazine; 
also  lower  case  in  cap  channels  of  72  channel  magazine  with  caps  and  figures  in  Wide  34  channel  auxiliary  magazine.  28  point 
alignment.  Code  word.  IKYB. 


BODOIVI  ITALIC-18  to  48  POINT-APL 

O'^ed  on  the  Al 
72  point  nrc  ai 


specimens  on  this  page  are  composerl  on  the  All-Purpnse  r.inotype.  Addifiuna!  sizes 
up  to  and  including  72  point  are  available  on  special  order 


-(— LINDTYPE~">- 


48  roiilt  Bodoni  Italic  (•4RAH)24)  Lower  case  alphabet.  501  points.  Code  word,  ZAJIB 

His  types  were  fine  48 
is  a  distinguished  and 

42  Point  Bodoni  Italic  (4?Ain2-l>  lower  rase  .ilpliahet.  415  points.  Code  word.  Z.A.TITE 

He  sought  the  perfect  29 
background  of  the  white 

36  Point  Bodoni  Italic  (J6A1024)  Lower  case  alphabet,  388  points.  Code  word,  ZAJFU 

Paper.  The  roman  had  long 
descenders,  sharp  hair-lines 

30  Point  Bodoni  Italic  {30A1024I  Lower  case  alphabet,  ^2r,  points.  Code  word.  ZAJDO 

Flat  serifs  and  thick  body  strokes 
Bodoni  intended  his  types  to  be  15 

24  Point  Bodoni  Italic  (24A1024)  Lower  case  alphabet,  264  points.  Code  word.  ZAJCI 

Used  in  very  definite  ivays,  wciys  that  it 
ivill  ivell  repay  printers  and  typographers 

18  Point  Bodoni  Italic  (18A1024)  Lower  case  alpliabet.  20J  points.  Code  w..rd.  ZAJBE 

Ample  leading  is  essential  to  the  legibility  of  all  the 
Bodoni  types.  Ample  margins,  another,  particnlarly 
ivhen  the  type  is  nsed  in  a  mass.  Becanse  Bodoni  is  a 


69 


BODONl 
COND. 


24 

POINT 


30 

POINT 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A 
How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  spe- 
cific face  of  type?  What  do  they  see  in  it?  Why 
is  it  so  superlatively  plea  1234567890($,.:f-'?!) 


(solid) 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
abcdefgliijkliniiopqrstuvwxyz 

Matrix  hijormation :  24An3.  Lower  case  alphabet,  233  points.  Figures.  .1107.  Runs  in  90  channel  magazine.  22  point  alignment. 
Code  word,  ILAN. 


-(„.oi  LINOTYPE"")- 


HOW  IS  ONE  TO  ASSESS  AND  EVA 

How  is  one  to  assess  and  evaluate  a  ty 
pe  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of 
printing  rave  o  1234567890  ($,.:;'-?!) 

(solid  ) 

ABCDEFGHIJKLMNOPQRSTUVWX 

abcdef  ghi  j  klmnopqrstu  vwxy  z 

Matrix  Information :  30A1S3.  Lower  case  alphabet.  288  points.  Figures,  .166.  Runs  in  72  channel  magazine;  also  lower  case, 
except  m  and  w,  in  cap  channels  of  90  channel  magazine  with  caps  and  figures  in  34  channel  auxiliary  magazine.  28  point  align- 
ment. Code  word,  ILAV. 


70 


BODONI 
BOLD 


^C  TRADE  [_|  ^  DT  YPE  '^^"'^  t) 


POSTER 
BODOXI 


MEMBERS  OF  THE  LINOTYPE  BODONI  FAMILY 

Ihese  display  weights  of  the  true  Botloni  letter  are  singularly 
virile  and  attention-compelling.  Each  retains  the  inherent  Bodoni 
character,  each  is  an  important  addition  to  Linotype  resources. 
For  advertising  composition,  general  commercial  work,  and 
for  headings  and  sub-headings  within  text  matter,  Bodoni  Bold 
or  Poster  Bodoni  will  be  found  useful  in  any  composing  room. 
Just  a  note  of  caution:  Ample  leading  is  necessary  to  relieve  the 
extra  weight  of  each  series  and  make  reading  truly  comfortable. 


MERGENTHALER  LINOTYPE  COMPANY,  Brooklyn,  N.Y.,  Chicago,  San  Francisco,  ^'etv  Orleans. 
CANADIAN  LINOTYPE,  LIMITED,  TORONTO.  Representatives  in  the  Principal  Cities  of  the  World 


BODONI  BOLD-COMPARISOIV  OF  SIZES 


Larger  sizes  are  shown  in  A  P  L  section 


('"  LINOTYPE""')^ 


6  Point  Bodoni  Bold  with  Italic  (6A156)  Lower  case  alphabet,  92  points.  Figures.  .0553 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  a  12 
HOW  IS  ONE  to  assess  and  evaluate  a  type  Jace  in  terms  of  its  esthetic  design  ?  Why  do  the  pace-makers  in  the  a  12 

7  Point  Bodoni  Bold  with  Italic  (7A176)  Lower  case  alphabet.  lUJ  points.  Figures.  .0622 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-make  12 
HOW  IS  OISE  to  asseis  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-make  12 

8  Point  Bodoni  Bold  with  Italic  (SA222)  Lower  case  alphabet.  118  points.  Figures.  .0692 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  th  12 
HOW  IS  OISE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  ?  Why  do  th  12 

10  Point  Bodoni  Bold  with  Italic  (10A196)  Lower  case  alphabet.  140  points.  Figures.  .083 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  desig  12 
HOW  IS  OI\E  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  desig  12 

12  Point  Bodoni  Bold  with  Italic  (12AI3J)  Lower  ca>c-  alpli.il.et.  158  points.  Figures.  .0968 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthe  12 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthe  12 

14  Point  Bodoni  Bold  with  Italic  (14A6S)  Lower  case  alphabet.  175  points.  Figures.  .1107 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  it  12 
HOW  IS  OISE  to  assess  and  evaluate  a  type  face  in  terms  of  it  1 2 


18  Point  Bodoni  Bold  (18A165) 


Lower  case  alphabet.  223  points.  Figures.  .1107 


HOW  IS  one  to  assess  and  evaluate  a  type  face  i  12 

21  Point  Bodoni  Bold  (21A15)  Lower  case  alphabet.  251  points.  Figures.  .1245 

HOW  IS  one  to  assess  and  evaluate  a  type  12 

24  Point  Bodoni  Bold  (24A121)  Lower  case  alpliabet.  282  points.  Figures,  .166 

HOW  IS  one  to  assess  and  evaluate  12 

27  Point  Bodoni  Bold  (27A1)  Lower  case  alphabet,  293  points.  Figures.  .1937 

HOW  IS  one  to  assess  and  evaluat  12 

30  Pcrint  Bodoni  Bold  (30A69)  Lower  case  alphabet,  318  points.  Figures.  .2075 

HOW  IS  one  to  assess  and  eval  12 

36  Point  Bodoni  Bold  (36A65)  Lower  case  alphabet.  403  points.  Figures,  .249 

HOW  IS  one  to  assess  an  12 

18  Point  Bodoni  Bold  Italic  (18A187)  Lower  case  alphabet.  22A  points.  Fisures.  .1107 

HOW  IS  one  to  assess  and  evaluate  a  type  face  12 

21  Point  Bodoni  Bold  Italic  (21A17)  Lower  case  alphabet.  2S1  points.  Figures.  .1245 

HOW  IS  one  to  assess  and  evaluate  a  type  12 


71 


BODOXI  BOLD-COMPARISON  OF  SIZES 

Larger  si/c>i  are  shown  in  A  I'  K  ^etlion 

(UNDTYPE     ) 


J4  ri.iiit  Bodniii  linlil  Italic  (24AH7)  I.nwer  c;is<-  alplialiel.  27G  imiiits.  Figure  I,  AH'-,;  2  t.i  (I.  .U.6 

HOW  IS  one  to  assess  and  evaluate  a  12 

m  Point  P,.,(l,.iii  Biild  Italic  l,HIAI23)  I.nwer  ca^c  alphalifl.    r^.i  ii.,nil,.   Imkuic  1.  .17'JS;  2  to  0,  .3071 

HOW  IS  one  to  assess  and  evl2 

I.X  pMiul    I-.M.l..in    l'.<il.l  I  .iii.icns,.,!    (I.XAJ.Xl)  1  ,, ,«  cr  i  a^c  a  Iplial..!  .    1  ;:-  p"inl -.    I' i.i;un-~,  JPliS, 

HOW  IS  one  to  assess  and  evaluate  a  type  face  in  terms  of  12 

24  T'.aiil   r.o.l.iiii   I'.mIiI  I '.  .n.l.-nsci   IJ4A-'-)n  lamer  la^e  ali.liahrt,  _'_'(,  i„,i.,ts    T'icnre^,  .11117 

HOW  IS  one  to  assess  and  evaluate  a  type  face  12 

ill  T'MMit  I;.„J,,,,i  Ph.I.I  C.udetisecJ  (.lOAlSil  Lower  rase  .ilpli.iliet .  27A  points.  Figures,  .](.:, 

HOW  IS  one  to  assess  and  evaluate  12 

.V,  Point  Podotii  Polil  loialeinerl  (.V.AH.t)  I.ower  rn>;p  riliilialipt ,  'i^l  points    Fiunres.  ,1').^7 

HOW  IS  one  to  assess  and  eval  12 


.  .  9  r 

, .  .  ,  .    . 


1  •> 

9      9 


(LINOTYPE     ) 

LIST   OF   CHARACTERS    IN    TWO-LETTER    FONTS 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMI\OPQRSTUVWXYZ& 

12345         abcclefjjhijklninopqrstiivwxyz         67890 
12345         ahcdefghijklnuiopqrstuvivxyz         67890 
:;?!([)  *^'._^(Elb    .    ..  fiflffffifflieoe£ 

(\  )^^''.  —  /E(E  m  .    .  .  fiflff  ffifflwa>£ 

V^V^Y^ViV^Vx''A    @    %t$§ll-[] 

ONE-LETTER    ROMAi\|    LOGOTY  PE  S,  SPECIAL    no    5 

fa  fe  fo  f r  f s  ft  fu  fy  ffa  ffe  ffo  ffr  ffs  ffu  ffy  f ,  f .  f-  ff ,  ff .  ff-  f  ff 

ONE-LETTER    ITALIC    LOGOTYPES 

FA   PA    TA    VA    WA    YA    Th   Wli 

S  «/  «#  ej  eff  hj  if  iff  kf  If  nfnf  of  off  pf  rf  sf  tf  itf  nff  yf  If  Of 

ONE-LETTER    ITALIC,   SPECIAL  NO.  5  TRUE-CUT   SMALL    CAPS,  SPECIAL  NO    s 

abcdefghijklmuopqrstuvivxyz         abcdefghijklmnopqrstuvwxyz& 

TWO-LETTER    LOGOTYPES 

E  R  Ta  Te  To  Tr  Tii  Tw  Ty  T.  Va  Ve  Vo  V.  Wa  We  Wi  Wo  Wv  W.  \a  Ye  \o  Y. 
F.RTtiTe  To  Tr  Tu  Tw  Ty  T.  Va  Ve  Vo  V.  Wa  We  Wi  Wo  Wr  W.  Ya  Ye  lo  Y. 

fa  fe  fo  f r  fs  ft  fu  fy  ffa  ffe  ffo  ffr  ffs  ffu  ffv  f ,  f .  f-  ff ,  ff^.  ff- 
fafefofrfs  ftfufyffaffeffoffrffs  ffu  ffy  f.  f.  f- ff  ff  fffff 


73 


BODOI^I 
BOLD 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE 
PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms 
of  its  estlietic  design?  Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  of  type?  \^  hat 

6  do  ihey  see  in  it?  V^  hy  is  it  so  superlatively  pleasant  to 

their  eyes?  Good  design  is  always  practical  design.  And 
what   they  see  in   a  good   type  design   is,   partly,  its  ex- 
POINT  cellent    practical    fitness   to   perform   its    work.    It   has    a 

**hefl"  and  balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  exactly  the 
work  that  the  chair  has  to  do— neither  clumsy  and  thick, 
nor  "skinny"  and  weak  —  no  waste  of  material  and  no 
lack  of  strength.  And,  beyond  that,  the  chair  may  have 
been  made  by  a  man  who  worked  out  in  it  his  sense  of 
fine  shapes  and  curves  and  proportions  —  it  may  be,  ac- 
tually, a  work  of  art*  The  same  thing  holds  for  shapes 
of  letters.  And  your  chair,  or  your  letter  (if  a  true  art- 
ist made  it)  will  have,  besides  its  good  looks,  a  suitabil- 
ity to  the  nth  degree  to  be  sat  in,  or  stamped  on  paper 
and  read.  That  explains,  in  a  way,  why  the  experts  rave 
over  the  fine  shapes  of  letters;  but  it  fails  to  explain 
wherein  the  shapes  are  fine.  If  you  seek  to  go  further 
with  the  inquiry,  theories  will  be  your  only  answer. 
Here  is  a   theory   that   the  proponent   thinks   may   have 

Hoiv  is  one  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in  the 
art   of  printing  rave  over  a  specific  face  of  type?   What 

(solid) 


IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE 
A  SPECIFIC  FACE  OF  TYPE?  WHAT  DO  THEY  SEE  IN 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Vt  hy  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  \^'hy  is  it  so  superlatively  pleasant  to 
their  eyes?  Good  design  is  always  practical  design.  And 
what  they  see  in  a  good  type  design  is,  partly,  its  ex- 
cellent practical  fitness  to  perform  its  work.  It  has  a 
**heft*'  and  balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Y'our  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  exactly  the 
work  that  the  chair  has  to  do— neither  clumsy  and  thick, 
nor  "skinny"  and  weak  — no  waste  of  material  and  no 
lack  of  strength.  And,  beyond  that,  the  chair  may  have 
been  made  by  a  man  who  worked  out  in  it  his  sense  of 
fine  shapes  and  curves  and  proportions— it  may  be,  ac- 
tually, a  work  of  art.  The  same  thing  holds  for  shapes 
of  letters.  And  your  chair,  or  your  letter  (if  a  true  art- 
ist made  it)  will  have,  besides  its  good  looks,  a  suitabil- 
ity to  the  nth  degree  to  be  sat  in,  or  stamped  on  paper 
and  read.  That  explains,  in  a  way,  why  the  experts  rave 
over  the  fine  shapes  of  letters;  but  it  fails  to  explain 
wherein  the  shapes  are  fine.  If  you  seek  to  go  further 
with  the  inquiry,  theories  will  be  your  only  answer. 
Here  is  a  theory  that  the  proponent  thinks  may  have 
(one  point  leaded) 


ABCDEFGHIJKLMNOP0RSTUVWXYZ& 
ABCDEFGHlJKLM!>lOPQRSTVyWXYZ& 

abcdefghijklmnopqrstuvwxvzfiflffffiffl  (S£,.  :;*-'?  !*t$§lT>  1234567890 
abcdefghijklmnopqrstuvwxyzfiflffffiffl  ($£,,:;'•*?  !*ft%M )  1234567890 

Matrix  hiformation :  6A156.  Length  of  lower  case  alphabet,  92  points.  Comma,  period  and  thin  space,   .0277;  figures. 
Will  run  in  90  channel  layout.  Code  word,  ILYT. 


-(■LINOTYPE" ')- 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN? 
WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  OF  TYP 


7 

POINT 


How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace-mak- 
ers in  the  art  of  printing  rave  over  a  specific  face 
of  type?  What  do  they  see  in  it?  Why  is  it  so  super- 
latively pleasant  to  their  eyes?  Good  design  is  al- 
ways practical  design.  And  what  they  see  in  a  good 
type  design  is,  partly,  its  excellent  practical  fitness 
to  perform  its  work.  It  has  a  "heft"  and  balance  in 
all  of  its  parts  just  right  for  its  size,  as  any  good 
tool  has.  Your  good  chair  has  all  of  its  parts  made 
nicely  to  the  right  size  to  do  exactly  the  work  that 
the  chair  has  to  do— neither  clumsy  and  thick,  nor 
"skinny"  and  weak— no  waste  of  material  and  no 
lack  of  strength.  And,  beyond  that,  the  cha.r  may 
have  been  made  by  a  man  who  worked  out  in  it  his 
sense  of  fine  shapes  and  curves  and  proportions  — 
it  may  be,  actually,  a  work  of  art.  The  same  thing 
holds  for  shapes  of  letters.  And  your  chair,  or  your 
letter  (if  a  true  artist  made  it)  will  have,  besides 
its  good  looks,  a  suitability  to  the  nth  degree  to  be 
sat  in,  or  stamped  on  paper  and  read.  That  ex- 
plains, in  a  way,  why  the  experts  rave  over  the  fine 
shapes  of  letters;  but  it  fails  to  explain  wherein 
the  shapes  are  fine.  If  you  seek  to  go  further  with 
the  inquiry,  theories  will  be  your  only  answer. 
Hotv  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  W  hy  do  the  pace-mak- 
ers in  the  art  of  printing  rave  over  a  specific  face 
( sulidj 


How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace-mak- 
ers in  the  art  of  printing  rave  over  a  specific  face 
of  type?  What  do  they  see  in  it?  Why  is  it  so  super- 
latively pleasant  to  their  eyes?  Good  design  is  al- 
ways practical  design.  And  what  they  see  in  a  good 
type  design  is,  partly,  its  excellent  practical  fitness 
to  perform  its  work.  It  has  a  "heft"  and  balance  in 
all  of  its  parts  just  right  for  its  size,  as  any  good 
tool  has.  Your  good  chair  has  all  of  its  parts  made 
nicely  to  the  right  size  to  do  exactly  the  work  that 
the  chair  has  to  do— neither  clumsy  and  thick,  nor 
"skinny"  and  weak— no  waste  of  material  and  no 
lack  of  strength.  And,  beyond  that,  the  chair  may 
have  been  made  by  a  man  who  worked  out  in  it  his 
sense  of  fine  shapes  and  curves  and  proportions  — 
it  may  be,  actually,  a  work  of  art.  The  same  thing 
holds  for  shapes  of  letters.  And  your  chair,  or  your 
letter  (if  a  true  artist  made  it)  will  have,  besides 
its  good  looks,  a  suitability  to  the  nth  degree  to  be 
sat  in,  or  stamped  on  paper  and  read.  That  ex- 
plains, in  a  way,  why  the  experts  rave  over  the  fine 
shapes  of  letters;  but  it  fails  to  explain  wherein 
the  shapes  are  fine.  If  you  seek  to  go  further  with 
the  inquiry,  theories  will  be  your  only  answer. 
(one  point  leaded) 


ABCDEFGHIJKLMNOP0RSTUVWXYZ& 
ABCDEFGHIJKLMISOPQRSTVVnXYZ& 

abcdefghijklmnopqrstuvwxyzfiflffffifil  (f £,.:;'-'?!*ti:811)  1234567890 
abcdefghijklmnopqrstuvwxyzfiflffffiffl($£,.:;'-'?!*''ft§'!)  1234567890 

Matrix  Injormation:  7A176-  LeiiKth  of  lower  case  alphabet,  102  points.  Comma,  period  and  thin  space.  .OJU  ;  figures.  .0622. 
Will  run  in  90  channel  layout.  Code  word,  ZETOY. 


74 


8 


BODOIVI 
BOLD 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC 
DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SP 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  practical  design.  And 
what  they  see  in  a  good  type  <lesign  is,  partly,  its  excellent  practical  fitness  to  perform  its  POINT 

work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool 
has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly  the  work 
that  the  chair  has  to  <lo  — neither  clumsy  and  thick,  nor  "skinny"  and  weak  — no  waste  of 
material  and  no  lack  of  strength.  And,  beyond  that,  the  chair  may  have  been  made  by  a  man 
who  worked  out  in  it  his  sense  of  fine  shapes  and  curves  and  proportions:  it  may  be,  actu- 
ally, a  work  of  art.  The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  letter 
(if  a  true  artist  made  it)  will  have,  besides  its  good  looks,  a  suitability  to  the  nth  degree  to 
be  sat  in,  or  stamped  on  paper  and  read.  That  explains,  in  a  way,  why  the  experts  rave  over 
the  fine  shapes  of  letters;  but  it  fails  to  explain  wherein  the  shapes  are  fine.  If  you  seek  to 
go  further  with  the  inquiry,  theories  will  be  your  only  answer.  Here  is  a  theory  that  the  pro- 
ponent thinks  may  have  sense  in  it:  Fine  type  letters  were,  in  the  first  place,  copies  of  fine 
written  letters.  Fine  written  letters  were  fine  because  they  were  produced  in  the  most  direct 
and  simple  way  by  a  tool  in  the  hands  of  a  person  expert  in  its  use  — by  a  person,  moreover, 
who  was  an  artist,  i.e.,  a  person  equipped  to  make  sound  judgments  about  lines,  curves,  pro- 
portions, etc.  The  artist  of  that  moment  when  printing  was  invented  who  furnished  the  fine 
written  patterns  for  type  was  (luckily  for  printing)  working  at  the  top  notch  of  a  fine  tradi- 
tion of  calligraphy.  He  was  making  sound  judgments  about  lines  and  curves  and  propor- 
tions of  letters.  He  had  resurrected  an  ancient  distinguished  style  of  writing  and  had  added 
to  it  the  quality  of  his  own  fine  taste.  His  letters  flowed  from  his  pen  easily  and  simply,  with- 
out any  tricks  or  affectations  or  extraneous  embellishments.  He  was  simple  enough  and  art- 
ist enough  to  let  the  implement  itself  (and  his  facile  hand)  shape  the  product.  The  fine 
qualities  of  this  artist's  letter-forms  were  carried  over  into  the  metal  types  and  sealed  up 
there,  like  butterflies  in  amber.  It  is  argued,  however,  that  the  ascription  of  beauty  to  type 
letters  by  this  route  (i.e.,  via  the  standards  of  calligraphy)  is  false  logic.  If  the  natural  and 

(f.vo  foi>tl  leaded) 

How  is  one  to  assess  and  evaluate  a  type  face  How  is  one  to  assess  and  evaluate  a  type  face 

in  terms  of  its  esthetic  design?  Why  do  the  in  terms  of  its  esthetic  design?  Why  do  the 

pace-makers  in  the  art  of  printing  rave  over  pace-makers  in  the  art  of  printing  rave  over 

a  specific  face  of  type?  What  do  they  see  in  ^  specific  face  of  tvpe?  What  do  thev  see  in 

it?  Why  is  it  so  superlatively  pleasant  to  .,,  ^,^^  j^  j,  ^^  ;uperlativelv  pleasant  to 
their  eves.'  Good  design  is  always  practical        i.'o/-^ji-  i'  .-i 

I     •      ■  i     I     u   .  .u  •  .       1  ..  ,.„  ,i„  their  eyesr  Good  design  is  always  practical 

design.  And  what  they  see  in  a  good  tvpe  de-         ,     .  .      ,      ,         ,  .  •  . 

sign  is,  partlv,  its  excellent  practical  fitness  design.  And  what  they  see  in  a  good  type  de- 

to  perform  its  work.  It  has  a  "heft"  and  bal-  sign  is,  partly,  its  excellent  practical  fitness 

ance  in  all  of  its  parts  just  right  for  its  size,  to  perform  its  work.  It  has  a  "heft"  and  bal- 

(solid)  ance  in  all  of  its  parts  just  right  for  its  size, 

rr,  .1-       I     II    X        I  f  I  .,      .     i     1  as  anv  good  tool  has.  Your  good  chair  has  all 

The  same  thing  holds  for  shapes  of  letters.  And  ..•"  i-i  T-i-  i 

your  chair,  or  your  letter  (if  a  true  artist  made  of  its  parts  ma.le  nicely  to  the  right  size  to  do 

it)  will  have,  besides  its  good  looks,  a  siiitahil-  exactly  the  work  that  the  chair  has  to  do- 

ity  to  the  nth  degree  to  be  sat  in.  or  stamped  on  neither  clumsy  and  thick,  nor  "skinny"  and 

(0,u--l  cttrr  Italic)  '■'"<•  f^i"l  leaded) 

ABCDEFGHIJKLMNOPQRSTIJVWXYZ& 
4BCDEFGHIJKLM!\OPQRSTVVW\yZ& 

abcdefghiiklmnopqrstuvwxvzfiflffmffl  ($f ,.:;'-'?  !tt§11)  1234567890 
abcdefghijklmnopqrstuvwxyzjiflffffiffl  ($£,.:;'■'? I'' n%^)  1234567890 

TRUE-CUT  SMALL  CAPS.  SPFCIAL  NO    5 

ABCDEFGHIJKLM^OPQRSTUVW.\YZ& 

ONE-LETTER   ITALIC  ,  SPECl  AL  tiO    5 

(tbcdefgh  ijklm  n  opqrstu  tivxyz 

Maliir  laleiinalieii  SA-'-J.  l.eimth  nl  Inwcr  c.Tse  alplialict.  1!S  pnints.  r,,mn,;i.  pennd  .-mil  thin  slincc.  Mi-ll  ;  ligiues.  ju.QJ. 
Will  run  in  90  cluuiiiel  layout.  Code  wold.  11, ZO. 


75 


BODOIVI 
BOLD 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF 
ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACEMAKERS  IN  THE  ART  OF 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
I^Q  Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type? 

POINT  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good 
design  is  always  practical  design.  And  what  they  see  in  a  good  type  design  is, 
partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good 
chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly  the  work  that 
the  chair  has  to  do— neither  clumsy  and  thick,  nor  "skinny""  and  weak— no 
waste  of  material  and  no  lack  of  strength.  And,  beyond  that,  the  chair  may 
have  been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and 
curves  and  proportions:  it  may  be,  actually,  a  work  of  art.  The  same  thing 
holds  for  shapes  of  letters.  And  your  chair,  or  your  letter  (if  a  true  artist  made 
it)  will  have,  besides  its  goods  looks,  a  suitability  to  the  nth  degree  to  be  sat  in, 
or  stamped  on  paper  and  read.  That  explains,  in  a  way,  why  the  experts  rave 
over  the  fine  shapes  of  letters;  but  it  fails  to  explain  wherein  the  shapes  are 
fine.  If  you  seek  to  go  further  with  the  inquiry,  theories  will  be  your  only  an- 
swer. Here  is  a  theory  that  the  proponent  thinks  may  have  sense  in  it:  Fine 
type  letters  were,  in  the  first  place,  copies  of  fine  written  letters.  Fine  written 
letters  were  fine  because  they  were  produced  in  the  most  direct  and  simple 
way  by  a  tool  in  the  hands  of  a  person  expert  in  its  use,  by  a  person,  moreover, 
who  was  an  artist,  i.e.,  a  person  equipped  to  make  sound  judgments  about 
lines,  curves,  proportions,  etc.  The  artist  of  that  moment  when  printing  was 
invented  who  furnished  the  fine  written  patterns  for  type  was  (luckily  for 
printing)  working  at  the  top  notch  of  a  fine  tradition  of  calligraphy.  He  was 
making  sound  judgments  about  lines  and  curves  and  proportions  of  letters. 
He  had  resurrected  an  ancient  distinguished  style  of  writing  and  had  added  to 
it  the  quality  of  his  own  fine  taste.  His  letters  flowed  from  his  pen  easily  and 
simply,  without  any  tricks  or  affectations  or  extraneous  embellishments.  He 

The  same  thing  holds  Jor  shapes  of  letters.  And  your  chair,  or  your  letter  (if  a  true 
artist  made  it)  will  have,  besides  its  good  looks,  a  suitability  to  the  nth  degree  to 
be  sat  in,  or  stamped  on  paper  and  read.  That  explains,  in  a  tvay,  why  the  experts 
rave  over  the  fine  shapes  of  letters;  but  it  fails  to  explain  wherein  the  shapes  are 

(Onc-Lcttcr  Italic) 

ABCDEFGHIJKLMNOPQRSTIIVWXYZ& 
ABCDEFGHI)KLM]SOPQRSTl]VWXYZ& 

abcdefghijklmnopqrstuvwxyz  ($£,.:;'-'?!*ti:§11)  1234567890 
ahcdefghijhlmnopqrstuvwxyz  ($£,.:;'■'? l-'^^l'^)  1234567890 

TRUE-CUT  SMALL  CAPS,  SPECIAL  NO    5 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ONE-LETTER  ITALIC,  SPECIAL  NO,  5 

abcdefghijklmnopqrstuvwxyz 

^latrix  !nfoin:ation :  I0A1'"'>-  I.eiiKth  of  linver  case  alphabet.  140  points.  Comma,  period  aiul  tliiii  space.  .0415:  figures.  .083. 
\\'in  run  in  90  channel  layout.  Code  word,  IMAP. 


76 


BODOINI 
BOLD 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TER 
OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACEMAKERS  IN  TH 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  spe- 
cific face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively 
pleasant  to  their  eyes?  Good  design  is  alivays  practical  design.  And 
what  they  see  in  a  good  type  design  is,  partly,  its  excellent  practical  fit- 
ness to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts 
just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of 
its  parts  made  nicely  to  the  right  size  to  do  exactly  the  work  that  the 
chair  has  to  do— neither  clumsy  and  thick,  nor  "skinny"  and  weak- 
no  waste  of  material  and  no  lack  of  strength.  And,  beyond  that,  the 
chair  may  have  been  made  by  a  man  who  worked  out  in  it  his  sense  of 
fine  shapes  and  curves  and  proportions— it  may  be,  actually,  a  work  of 
art.  The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or  your 
letter  (if  a  true  artist  made  it)  will  have,  besides  its  good  looks,  a  suit- 
ability to  the  nth  degree  to  be  sat  in,  or  stamped  on  paper  and  read. 
That  explains,  in  a  way,  why  the  experts  rave  over  the  fine  shapes  of 
letters ;  but  it  fails  to  explain  wherein  the  shapes  are  fine.  If  you  seek 
to  go  further  with  the  inquiry,  theories  will  be  your  only  answer.  Here 
is  a  theory  that  the  proponent  thinks  may  have  sense  in  it :  Fine  type 
letters  were,  in  the  first  place,  copies  of  fine  written  letters.  Fine  writ- 
ten letters  were  fine  because  they  were  produced  in  the  most  direct 
and  simple  way  by  a  tool  in  the  hands  of  a  person  expert  in  its  use— by 

I  tuut  point  h-udi-il) 

The  same  thing  holds  for  shapes  of  letters.  Anil  yonr  chair,  or  your  letter 
(if  a  true  artist  made  it)  will  have,  besides  its  good  looks,  a  suitability  to 
the  nth  degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That  explains, 
in  a  way,  why  the  experts  rave  over  the  fine  shapes  of  letters;  but  it  fails 

<On,'-l.ctlct   Iliilic) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&  1234567890 
ABCDEFGHUKLMI\OPQRSTVVWXYZ&  1234567890 

abcdefghijklnmopqrstuvwxyzfiflffffiffl  ($£,.:;'-'?  !*t$§D 
abcdefghijklm  nopqrstuvwxyzfiflffffiffl  C-^^v : ; '-'  ?  •'  *  t  $  §  H  >) 

TRUE-CUT  SMALL  CAPS.  SPECIAL  NO    5 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ONE-LETTER   ITALIC,  SPECIAL  NO    5 

abcdefghijklmnopqrstuvwxyz 

Matrix  Jiih'inuiti.'i:-  I.'AI,!J.  I.eiiKtli  i.f  luwcr  case  alphabet.  1  SS  p.iiiits.  (  ..imiia.  iieri.nl  and  tliin  space.  .04S4:  figures.  .09f>8. 
Will  run  in  vo  chainiel  layi)ut.  Code  «.iid.  I.MRO. 


12 

POINT 


77 


BODOIVI 
BOLD 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  I 
TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE- 

14  How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  es- 
poiNT  thetic  design?  Why  do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is 
it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always 
practical  design.  And  what  they  see  in  a  good  type  design  is, 
partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any 
good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to 
the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do— 
neither  clumsy  and  thick,  nor  "skinny"  and  weak— no  waste  of 
material  and  no  lack  of  strength.  And,  beyond  that,  the  chair 
may  have  been  made  by  a  man  who  worked  out  in  it  his  sense  of 
fine  shapes  and  curves  and  proportions— it  may  be,  actually,  a 
work  of  art.  The  same  thing  holds  for  shapes  of  letters.  And 
your  chair,  or  your  letter  (if  a  true  artist  made  it)  will  have, 
besides  its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in, 
or  stamped  on  paper  and  read.  That  explains,  in  a  way,  why  the 
experts  rave  over  the  fine  shapes  of  letters ;  but  it  fails  to  explain 

(two  point  leaded) 

The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or 
your  letter  (if  a  true  artist  made  it)  will  have,  besides  its  good 
looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped  on 
paper  and  read.  That  explains,  in  a  way,why  the  experts  rave  over 

(One-Letter  Italic) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&  1234567890 

ABCDEFGHIJKLMNOP0RSTUVWXYZ&1234567890 

abcdefghijklmnopqrstuvwxyzfiflffffiffl  ($£,. : ;'-'?  !=^ tt§^) 

abcdefghijklmnopqrstuvivxyzfiflffffiffl  ($£,- : ;  '■'  ?  /*  t  i  §  il) 

TRUE-CUT  SMALL  CAPS.  SPECIAL  NO    5 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ONE-LETTER  ITALIC,  SPECIAL  NO.  5 

abcdefghijklmnopqrstuvivxyz 

Matrix  Information:  14A68.  Length  of  lower  case  alphabet,  175  points.  Comma,  period  and  thin  space,  .0553;  figures,  .1107. 
Will  run  in  90  channel  layout.  Code  word,  IMCU. 


78 


BODONI 
BOLD 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE 

A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC 

10 

How  is  one  to  assess  and  evalnate  a  type  face  in  point 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  type  ?  What  do  they  see  in  it  ?  Why  is  it  so 
superlatively  pleasant  to  their  eyes  ?  Good  design 
is  always  practical  design.  And  what  they  see  in  a 
good  type  design  is,  partly,  its  excellent  practical 
fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  exactly 
the  work  that  the  chair  has  to  do— neither  clumsy 
and  thick,  nor  "skinny"  and  weak— no  waste  of 
material  and  no  lack  of  strength.  And,  beyond 
that,  the  chair  may  have  been  made  by  a  man 
who  worked  out  in  it  his  sense  of  fine  shapes  and 
curves  and  proportions— it  may  be,  actually,  a 
work  of  art.  The  same  thing  holds  for  shapes  of 


(four  foiut  leaded) 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyz 
12345  ($,.:^'?!)  67890 


Matrix  Injormation:  18A16?-  Length  of  lower  case  alphabet,  223  points.  Comma,  period  anri  thin  space,  .05^"?;  fimires.  .1107. 
Will  run  in  90  channel  layout.  16  point  alignment.  Code  word,  IMDY. 


79 


BODOIVI 
BOLD 


21 

POINT 


POINT 


80 


HOW  IS  ONE  TO  ASSESS  AND  EVALUA 
How  is  one  to  assess  and  evaluate  a  type  face 
in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over 
a  specific  face  of  type?  What  do  they  see 
in  it?  Why  is  it  so  superlatively  pleasant  to 
their  eyes?  Good  desig  1234567890 (I,.:;'-'?!) 


(four  point  leaded) 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdef glii  j  klmnopqrstuvwxyz 

Matri.r  Iniormaiion  :  21A15.  Length  of  lower  case  alphabet,  251  points.  Comma  and  period.  .0622;  thin  spaces,  .0277  and  .083; 
figures,  .1245.  Will  run  in  Display  Linotypes.  72  channel  layout;  also  caps  in  34  channel  auxiliary  magazine  and  lower  case  in 
cap  side  of  90  channel  magazine.  18  point  alignment.  Code  word.  IMEG. 


-('""LINDTYPE""> 


HOW  IS  ONE  TO  ASSESS  AND  EVAL 
24  How  is  one  to  assess  and  evaluate  a  ty 
pe  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of 
printing  rave  over  a  specific  face  of  ty 
pe?  What  do  they  1234567890($,.:^'?!) 


(joxir  point  leaded) 


ABCDEFGHIJKLMNOPQRSTUVWX 

abcdef  ghijklmnopqrstuvwxyz 

Matrix  Information-  24A121.  Length  of  lower  case  alphabet.  282  points.  Comma  and  period.  .0692:  thin  spaces.  .0277  and  .083; 
figures,  .166.  Will  run  in  Display  Linotypes,  72  channel  layout:  also  caps  in  34  channel  auxiliary  magazine  and  lower  case  in 
cap  side  of  90  channel  magazine.  22  point  alignment.  Code  word.  IMEQ. 


BOOOIVI 
BOLD 


How  is  one  to  assess  and  evaluate  any 
type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the 
printing  art  rave  over  a  specific  face 
of  type?  Wha  1234567890  d,.:;^-'?!) 

(ti.r  /i.)/»(  Iradrd  I 

ABCDEFGHIJKLMNOPQRSTUV 

abcdefghijklmnopqrstuvwxyz 

Matrix  hilurmatiini :  27A1-  I-eiiRth  of  lower  c,T;e  alplinhet.  203  points,  romma  and  pcrioil,  .0761;  ihin  <p,-n(-<.  .nj77  and  .08.1; 
figures.  .\'^^7.  Will  run  in  72  channel  layt)ut ;  alxi  caps  in  34  channel  au.viliary  nia^a/nic  and  lower  case,  except  nt  and  w.  in 
cap  channels  of  90  channel  inaga*^ine.  26  point  ali.i^ninent.  Smallest  sUn;  <jn  which  this  face  will  cast  is  2S  jtoiiit.  ("ode  word. 
ZEZEC. 


-(     LINDTYPE    > 


27 

I'OIXT 


How  is  one  to  assess  and  evaluate 
a  type  face  in  terms  of  its  esthetic   ii? 
design?  Why  do  the  pace-makers 
in  the  art  of  abcdefghijkhnnopcj 
rstuvwxyz  1234567890  ($,•:;'-'?!) 

ABCDEFGHIJKLMNOPQR 
STUVWXYZ& 

Matrix  InUn-uialioii  :  30ACi9.  I.ePKth  of  lower  case  alphabet.  31S  points.  Comma  and  period.  .0S3;  thin  spaces.  .(1277  and  .OS.': 
figures.  .2075.  Will  run  in  Display  l.iiu)t>pes.  72  channel  la.vout.  2.S  point  alignment.  Code  word,  IMIR. 


81 


BODOIVI 
BOLD 


36 

POINT 


How  can  one  evaluate  and 
assess  a  type  face  in  terms 
of  its  esthetic  design?  Why 
do  the  pace-makers  in  the 
art  of  printing  rave  over  a 
specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it 
so  superlatively  pleasant  to 
their  eyes?  Good  design  is 
alwa  1234567890  ($,.:;'■'?!) 


(four  point  leaded) 


ABCDEFGHIJKLMNOPQ 
RSTUVWXYZ& 

abcdefghijklmnopqrstuvw 

Matrix  Information :  36A6S.  Length  of  lower  case  alphabet.  403  points.  Comma  and  period.  .OOfiS;  thin  space.  .0277;  figures, 
.249,  Will  run  in  Display  Linotypes,  wide  72  channel  layout;  also  lower  case  in  cap  side  of  72  channel  layout.  34  point  align- 
ment. Code  word.  IMIZ. 


82 


BODONI  BOLD-14  to  72  POI]\T-APL 

Spci  iiiicMs  nil  this  ij^ige  are  iMinp'^Tcl  .,ii  tlu-  AH- l'iiri)ii>c  I  in.  .type 


<-'LIWOTYPE""'>^ 


•J  roiiil  Bndom  Bold  (7JAU)UJ)  ],..uei  i.ise  ;ili>lialiel.  8J!S  points.  ('(kU-  u..1(1.  /..\(  AV 


It  will  repay  a 
printer  to  see 

(.0  Point  Buduiii  Bold  ((.OAHJII.i  I   Lower  ease  all.ll.iliel,  i,'l2  p.iMits.  Code  w.ird.  ZAl  AS 

Specimen  of  57 
Linotype  family 

4.S  Point  Bodoni  Bold  (48A1I"W)  1  ..wer  case  alplialiet,  549  p.iints.  r.„|e  w..ril.  '/ M  AI. 

Of  Bodoni.  Analyze 
the  various  weights 

-tJ  Point  Bodoni  Bold  (4JA10().I)  Lower  lase  aiplial:et.  477  p..inls.  Code  \v..rd.  ZAt  AK 

And  sizes  when  you  are 
contemplating  any  new 

All-Purpose  Linotype  matrices  are  also  available  in  14^  18,  24,  30  and  36  point  sizes 

83 


BODONI  BOLD-84  to  144  POIl^T-APL 

Specimens  on  this  page  are  tomposed  on  the  All-Piirpose  Linotype 

A    1^1 


144  Point  Bodoni  Bdlil  (144A100J)  Lower  case  alphabet,  1746  points.  Code  word,  ZEBED 

Try  a  3 

120  Point  Bodoni  Bold  (i:OA1003)  Lower  case  alphabet.  1500  points.  Code  word.  ZEBDA 

Dispeed 

96  Point  Bodoni  Bold  (96A100J)  Lower  case  alphabet.  124S  points.  Code  word.  ZEBCU 

Is  greater 

.S4  Point  Bodoni  Bold  (.S4A1003)  Lower  case  alphabet,  1110  points.  Code  word,  ZEBBO 

One  year  of 
Ringing  or 


84 


DI]\]\ER 
DANCE 


SPECIMENS     I  IS 

BODONI BOLD 

and 

Poster  Bodoni 


The  Leao;ue  of 

of  Sprin«;  Lake 

yoii  to  atteinl  t 

Fall  Dinner  Da 

OCTOB 

at  the  Reil  Lion 

will  be  a  Rece 

Dinner  at 

Tiekets 


Nat  Loiivell 


-K-K-K-K-K-K-K-K^-K-K-K-K-K-K-K-K 


BOOKS 


-K^^^-K-K-K-K-K-K-K-K-K-K-K-K-K 


for  Christmas 


Classes  in  Etching 

fl.     Mondays,  7 :30—9:30  p.m.,  beginning  October  1.  15  sessions,  $15, 
b,     Wednesdays,  4:15—6:15  p.m.,  beginning  October  3.  15  sessions,  $15, 

These  are  studio  courses  in  etching.  Instruction  is  given  in  acid  biting,  dry- 
point,  soft  ground  etching  and  aquatint.  The  art  of  printing  of  plates  will  also 
be  taught,  with  the  use  of  a  professional  printing  press.  Students  provide 
their  own  materials.  The  classes  are  open  to  beginners  and  advanced  stu- 
dents. Enrollment  in  each  class  is  limited  so  that  the  student  may  receive 
iual  instruction,  which  is  really  so  essential  to  rapid  advancement. 


I  who  are  professionally  interested  in  etching  and  require  more  time 
;  ing  of  plates  and  actual  studio  practice  may  make  special  arrange- 
;  th  the  instructor  in  charge  of  this  course  for  forming  a  special  class. 

■  Color  etching.  Fridays,  4:15—6:15  p.m.,  beginning  October  5,  $8 
onth.  During  December  and  January  on  Monday,  3:15—5:15  p,m, 

1  class  instruction  will  be  given  in  the  preparation  of  plates  and  the 
;  of  etchings  in  color.  A  general  knowledge  of  the  technique  of  etch- 
I  uired  for  all  students  entering  the  class.  Students  provide  their  own 
Iterials.  Classes  visit  plants  under  actual  working  conditions  weekly. 


-K-K-K-K^-K-K-K-K-K-K-K-K-K-K** 


!OWELL.  Instructor  in  art  at  Hunter  College;  art  director,  Raniapo 
!  Crafts  Center,  Suffern,  N.  Y.  Studied  at  Art  Students'  League  under 
iBeckwith,  Siddons  Mowbray.  Has  executed  many  commissions  for 
I  us  scenes  of  New  York.  Represented  at  Newark  Museum  of  Prints, 
!  politan  Museum  of  Art  and  the  Print  Room  at  Lenox  Library.  Has 
!  at  Brooklyn  Society  of  Etchers,  National  Arts  Club,  Architectural 
I  Academy  of  Design ;  one  man  exhibition  at  Advertising  Club. 


-K^-K-K-K-K^^^-K-K-K-K^-K-K-K 


[Starts  on  September  15th 


BODONI 

BOLD 
ITALIC 


18 

POINT 


21 

POINT 


How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  design 
is  alivays  practical  design.  And  ivhat  they  see  in 
a  good  type  design  is,  partly,  its  excellent  prac- 
tical fitness  to  perform  its  iv  1234567890($,.: ;'-'?! ) 


(jour  [•oiiit  leaded) 


ABCDEFGH1JKLMN0PQRSTUVWXYZ& 

ahcdef  ghijklmnopqrstuvivxyz 

Matrix  hijoriuatiou  :  1SA187.  Length  of  lower  case  alphabet,  22A  points.  Comma,  period  and  thin  space.  .0553;  figures,  .1107. 
Will  run  in  90  channel  layout.  16  point  alignment.  Code  word,  IMOB. 


-C'°  LINOTYPE""  >- 


How  is  one  to  assess  and  evaluate  a  type  face 
in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over 
a  specific  face  of  type?  What  do  they  see 
in  it?  Why  is  it  so  superlatively  pleasant  to 
their  eyes?  Good  desig  1234567 890 ($,.:;'-'?!) 


(four  point  leaded) 


ABCDEFGHIJKLMNOPQRS 
TUVWXYZ& 

ahcdef  ghijklmnopqrstuvivxyz 

Matrix  Injormation :  2\/\\7.  Length  of  lower  case  alphabet,  251  points.  Comma  and  period,  .0622;  thin  spaces.  .0277  and  .083; 
figures,  .1245.  Will  run  in  Display  Linotypes.  72  channel  layout;  also  caps  in  34  channel  auxiliary  magazine  and  lower  case  in 
cap  side  of  90  channel  magazine.  18  point  aligninent.  Code  word,  IMOJ. 


86 


BODOI\I 

BOLD 
ITALIC 


(jo'tr  t^viiil  leaded) 


ABCDEFGHIJKLMNOPQRSTVVW 

abcdefghijklmnopqrstuvwxyz 

Matti-i-  Injorination  :  1'4A147.  Length  of  I(nvcr  case  alpliahet.  27f>  points.  Comnin  ami  period,  .083;  thin  spares.  .0J77  and  .0S3; 
figure  1,  .1243;  2  to  0,  .106.  Will  run  in  Di>.plaj'  Liimtypes.  72  channel  layout;  also  caps  in  34  channel  auxiliary  niai;a/ine  and 
lower  case  in  cap  side  of  'JO  channel  luaya/ine.  22  point  alignment.  Code  word.  I.MI'A. 


-C"  LINOTYPE^ 


How  is  one  to  assess  and  evalu 
ate  a  type  face  in  terms  of  its  es 
thetic  design?  Why  do  the  pac 
e-make  1234567890  ($,.:;'''?!) 


(  six  point  leaded) 


ABCDEFGHIJKLMISOPQRS 
TLVWXYZ& 

abcdefghijklmnopqrstuvwxyz 

Matrix  I II  format  ion :  30A123.  Length  of  lower  case  alphabet.  ^^^  p.-inls.  (tinnna  and  period.  .0968;  thin  space,  .0277;  I'lgure  1, 
.179.S:  2  to  0,  .2075.  Will  run  in  Display  l,inutypes,  wide  72  channel  layout  ;  aKn  ]i>wer  lase  in  cap  side  of  72  channel  niaga/ine. 
28  point  alignment.  Code  word.  IMQE. 


POINT 


How  is  one  to  assess  and  evaluate  a  type 
faee  in  terms  of  its  esthetic  desifrn?  Why     24 
do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  1 2 34567 890( $,.:;'-'?!) 


30 

POINT 


87 


BODOI^I  BOLD  ITALIC-IS  to  72  POI]\T-APL 

Specimens  on  this  page  are  composed  on  tlie  All- Purpose  Linotype 

A    IS 


<""■  LINOTYPE- ■> 


72  Point  Bodoni  Bold  Italic  (72A1007)  Lower  case  alphabet.  804  points.  Code  word.  ZEPME 

His  design  of 

60  Point  Bodoni  Bold  Italic  (60A1007)  Lower  case  alphabet.  669  points.  Code  word.  ZEPLA 

In  57  of  the  fine 

48  Point  Bodoni  Bold  Italic  (48A1007)  Lower  case  alphabet.  538  points.  Code  word,  Z.AMVO 

The  types  which  are 

42  Point  Bodoni  Bold  Italic  (-I^AIOO?)  Lower  case  alphabet.  465  points.  Code  word,  ZAMSE 

Harmony  and  accurate 

36  Point  Bodoni  Bold  Italic  (J6A1007)  Lower  case  alphabet.  416  points.  Code  word.  ZAMRA 

Roundness  of  contour  and 

30  Point  Bodoni  Bold  Italic  (30AI007)  Lower  case  alphabet.  351  points.  Code  word.  Z.\MPU 

Distinguished  contribution  25 

24  Point  Bodoni  Bold  Italic  (-'4A1007)  Lower  case  alphabet.  285  points.  Code  word.  ZAMOZ 

Is  available  in  Linotype  form^  and  in 
varying  weights.  The  high  or  upright 

18  Point  Bodoni  Bold  Italic  (18A1007)  Lower  case  alphabet,  224  points.  Code  word.  Z.'^.MOT 

Initial  is  characteristic,  Bodoni^  ofParnia^  Italy 
designed  the  types  that  bear  his  name  and  is  one 


88 


How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its 
esthetic  design?  Why  do  the  pace-makers  in  the  art  of  print- 
ing rave  over  a  specific  face  of  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design 
is  always  practical  design.  And  what  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fitness  to  perform  its 
work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right 
for  its  size,  as  any  good  tool  has.  Your  1234567890  ($,.:;'-'?!) 


(tzvo  point  leaded) 


ABCDEFCHIJKLMNOPQRSTUVWXYZ 

abcdefghijklmnopqrstuvwxyz 

Matrix  Iiiforniatioii :  18A->^3.  Lenpth  of  lower  case  alphabet,  178  points.  Cntnina,  period  ami  thin  spate.  .()4.S4;  figures,  .0968. 
Will  run  in  90  channel  layout.  16  point  alignment.  Code  word.  IMUC. 


■<'    LINOTYPE""' > 


How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  design 
is  always  practical  design.  And  what  they  see  in  a 
good  type  design  is,  partly,  1234567890  ($,.:;'-'?!) 


(jiiur  point  leaded) 


ABCDEFCHIJKLMNOPQRSTUVWXYZ 

abcdefghijklmnopqrstuvwxyz 

Matrix  liilarmalion  :  J-4A-M1.  Length  of  Imver  case  alijliahet.  226  pniiits.  Cniimia,  period  ami  thin  space,  .055.!;  tiKilies.  .1107. 
Will  run  in  90  channel  layout.  22  point  aligntnent.  Code  word.  I.MUT. 


BODONI 
BOLD 
COIVD. 


18 

POINT 


24 

POINT 


89 


BODOIVI 
BOLD 
C01¥D. 


30 

POINT 


36 

POINT 


How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  th  abcdef  ghi  jklm 
nopqrstuvwxyz  1234567890  ($,.:;'-'?!) 

(si.r  Point  leaded) 

ABCDEFGHIJKLMNOPQRSTUVWX 

abcdefghijklmnopqrstuvwxyz 

Matrix  Information :  30/\]S3.  Length  of  lower  case  alphabet,  274  points.  Comma  and  period,  .0<'i02 ;  thin  spaces.  .0277  and  .083; 
figures.  .166.  Will  run  in  Display  Linotypes,  72  channel  layout;  also  caps  in  34  channel  auxiliary  masazine  and  lower  case  in 
cap  side  of  90  channel  magazine.  28  point  alignment.  Code  word.  IMVY. 


■<-°  LINOTYPE"")- 


How  is  one  to  assess  and  evaluate 
a  type  face  in  terms  of  its  esthetic 
design?  Why  abcdefghijklmnopq 
rstuvwxyz  1234567890  ($,.:;'■'?!) 


(SIX  point  leaded) 


ABCDEFGHIJKLMNOP 
QRSTUVWXYZ& 

Matrix  Information:  36A145.  Lower  case  alphabet.  321  points.  Comma  and  period.  .083;  thin  space,  .0277;  figures,  .1937.  Will 
run  in  72  channel  magazine.  34  point  alignment.  Code  word,  ZENYE. 


90 


Advertising  Figures 


-(LINOTYPE     )- 


BODOTVI    BOLD 

1234567890 


30AR7.  F'uiulicd  in  nnrnial  i)usifitni.  Figures.  .JU75.  F<ir  two  line  IJ  ijoiiit.  Kmi'^  in  all  auxiliary  inaga/ines.  ("ntle  wonl,  !M'I  \'. 


1234567890 


24A161.  Punched  in  normal  position.  Fisures,  .1^6.   For  two  line  10  pninf.   Runs  m  advertising  figure  channels  of  90  channel 
magazine  and  in  all  auxiliary  inaKa/ines.  Code  word,  IMSO. 


1234567890 


IHA-O.^.  Punched  in  normal  position.   Figures,  .1245.   For  two  line  .^  point.  Runs  in  advertising  figure  channels  of  ''0  channel 
niaga/ine  and  in  all  auxiliary  magazines.  Code  word,  IMRI. 


BODONI   BOLD   ITALIC 

1234567890 

24A-7'^.  Punched  in  normal  position.  Figure  1,  .1245;  2  to  0.  .166.   For  two  line  10  point.  Runs  in  advertising  figure  channels 
of  90  channel  magazine  and  in  all  auxiliary  magazines.  Code  word.  ZAFAV. 

POSTER   BODOXI 

1234567S90 

30A237.  Punched  in  normal  position.  Figure  1,  .2213;  2  to  0.  .2767.  For  two  line  12  point.  Runs  in  Wide  34  channel  auxiliary 
magazine.  Code  word,  ZEKZA. 


1234567890 


24A29].  Punched  in  normal  position.  Figure  1.  .1937;  2  to  0.  .249,  For  two  line  H)  point.  Runs  m  left  side  of  34  channel  auxil- 
iary magazine  and  in  Wide  34  chainiel  auxiliary  magazine.  Code  word,  ZAl-KE. 


1334567890 


ISA.^37.  Puiiclieil  ill  Tii.rm.Tl  p..sitinn.  Figure  I,  AVA;  2  tn  0.  .17^S.  For  twn  line  S  pnint.  Runs  in  all  auxiliary  nia«a?ines.  Code 
word.  ZADVS. 


NOTE:  Fractions,  points,  cent  mark,  and  other  com- 
mercial characters  are  also  availabh'for  these  faces 


91 


POSTER  BODO]\I-SIZE   COMPARISOIV 

Larger  sizes  are  shown  in  A  P  L  section 

("°  LINOTYPE "") 


8  Point  Poster  Bodoni  with  Italic  (8A413)  Lower  case  alphabet.  1-46  points.  Figures.  .083 

HOW  IS  01\E  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  d  13 
HOW  IS  OJ>lE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  d  12 

10  point  rosier  P,odoiil  with  Italic  (10A326)  Lower  case  alphabet.  171  points.  Figures.  .0968 

HOW  IS  OTVE  to  assess  and  evaluate  a  type  face  in  terms  of  its  12 
HOW  IS  OlSE  to  assess  and  evaltiate  a  type  face  in  terttts  of  its  12 

12  Point  Poster  Bodoni  with  Italic  (12A-98)  Lower  case  alphabet.  20J  points.  Figures,  .1107 

HOW  IS  OIVE  to  assess  and  evaluate  a  type  face  in  t  12 
HOW  IS  0]\E  to  assess  and  evaluate  a  type  face  int  12 

14  Point  Poster  Bodoni  with  Italic  (14A174)  Lower  case  alphabet,  235  points.  Figures,  .1107 

HOW  IS  OXE  to  assess  and  evaluate  a  type  f  12 
HOW  IS  ONE  to  assess  and  evaluate  a  type  f  12 

18  Point  Poster  Bodoni  (18A309)  Lower  case  alphabet.  300  points.  Figure  1.  .1383;  2  to  0,  .1798 

HOW  IS  one  to  assesis  and  evalua  12 

18  Point  Poster  Bodoni  Italic  (18A313)  Lower  case  alphabet,  301  points.  Figure  1,  .1522;  2  to  0,  .1798 

BOW  IS  one  to  assess  and  evalua  12 

24  Point  Poster  Bodoni  (24A257)  Lower  case  alphabet,  409  points.  Figure  1,  .1937;  2  to  0.  .249 

HOW  IS  one  to  assess  an  12 

M)  Piiint  Poster  Buduni  (30A79)  Lower  case  alphabet.  502  points.  Figure  1,  .2213;  2  to  0,  .2767 

HOW  IS  one  to  asses  IS 

36  Point  Poster  Bodoni  (36A123)  Lower  case  alphabet,  612  points.  Figure  1,  .249;  2  to  0,  .3044 

HOW  IS  one  to  a  12 


LIST  OF   CHARACTERS   IIV  TWO-LETTER  FONTS 

ABCDEFGHIJKLM^OPQRSTUVWXYZ& 
ABCDEFGHUKLM]%OPqRSTlJyWXYZ& 

12345         abcdefghijklmnopqrstuvwxyz        67890 
12345        ahcdefghijklntnopqrstttvwxyz        67890 

,.:;?!(!)*" /EOEIB...  ae  ce  £  $ 

,.;,•?:(!>**' ^  <E  IB  ..«;«<£$ 

Vs  V4  %  Vs  ¥«  %  %     ®     %  t  *  §  11  -  [  ] 


92 


POSTER 
BODONI 


HOW  IS  OI^E  TO  ASSESS  ANH  EVALUATE  A  TYPE  FACE  IN  TERMS  OF 
ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  ITS  THE  ART  OF 

How  is  one  to  assess  and  evaluate  a  type  f  aee  in  terms  of  its  esthetic  design? 
Why  do  the  paee-makers  in  tiie  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design.  And  what  they  see  in  a  good 
type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its  work.  It 
has  a  "hef f  and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good 
tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to 
do  exactly  the  work  that  the  chair  has  to  do— neither  clumsy  and  thick,  nor 
"skinny''  and  weak  — no  waste  of  material  and  no  lack  of  strength.  And, 
beyond  that,  the  chair  may  have  been  made  by  a  man  who  worked  out  in  it 
his  sense  of  fine  shapes  and  curves  and  proportions— it  may  be,  actually,  a 
work  of  art.  The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or 
your  letter  (if  a  true  artist  made  it)  will  have,  besides  its  good  looks,  a 

Hotv  is  one  to  assess  and  evaluate  a  type  face  in  ternts  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  race  over  a  specific  face  of 

(Iwn  t'oint  leaded) 

ARCDEFGHIJKLMIVOPQRSTUVW  X  YZ& 
ABCDEFGHIJKLi*l\OPQRSTU\WXYZ& 


abcdefghijklmnopqrstuvwxyz  1234567890  ($  <£,. 
abcflefgfiijfeImnopqrstut;w;vi|z  1234567890  ($  <£,. 


Matrix  hiiormnlii'ii  :  8A-11- 
Will  run  in  90  channel  \^yin 


Length 
1.  Code  w 


>i  lower  case  alphabet.  1-46  points,  Coinnia.  period  and  thin 
.rd.  ZIAR. 


■.pace,   .0415;  figures,   ,083. 


8 

POINT 


-("°  LINOTYPE""' > 


HOW  IS  Ol^E  TO  ASSESS  Al^D  EVALUATE  A  TYPE  FACE  IX 
TERMS  OF  ITS  ESTHETIC  DESIGX?  WHY  DO  THE  PACE-MAK 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  es- 
thetic design?  Why  do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  type?  What  ilo  they  see  in  it?  Why  is 
it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always 
practical  design.  And  what  they  see  in  a  good  type  design  is, 
partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has 
a  ^^heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made 
nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has 

0OM?  is  one  to  assess  and  evtiltiate  a  type  face  in  terms  of  its  es- 
thetic design?  Why  do  the  pace-mahers  in  the  art  of  printing 

(three  ffint  leaded) 

ABCDEFGHIJKLMNOPQRSTi;VWXYZ& 
ABCDEFGHUKLMlSOPqRSTD\WlL\Z& 

abcdefghijklmnopqrstuvwxyz  1234567890  ($£,.:;'-'?!*) 
ahcdefght]Ulmnopqrstttvwxyzl2S4567S90i^£,.:;'-'?l-) 


10 

POINT 


Matrix  Iiifarnial  ii' 
Will  run  in  90  chai 


lOA.l'C'.  Length  of  li>wer  case  alphabet,  171  points,  ('omnia,  iieriod  and  thin 
el  layout.  Code  word,  ZlAZ. 


ice,  ,0484:  figures,  .0968. 


93 


POSTER 
BODOIVI 


12 

POINT 


14 

POINT 


HOW  IS  OXE  TO  ASSESS  AXD  EVALUATE  A  TYPE 
FACE  IX  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant 
to  their  eyes?  Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design  ($je,.:;'-'?!*) 
Hoti?  is  one  to  assess  and  evaluate  a  type  face  in  tertns 
of  its  esthetic  design?  Why  do  the  pace-ntahers  in  the 

(four  point  leaded) 

ABCDEFGHIJKL]W[]\OPQRSTrVWXYZ& 
ABCDEFGHIJKL3U\OPqRSTlJVWXYZ& 

abcdef  ghi  jklmnopqrstuvwxyz  1 234567890 
ahcdefghijhhnnopqrstuvtvxyz  1234567890 

Matrix  hifonvatioit :  13A298.  Length  nf  lower  case  alphabet.  202  points.  Comma,  period  and  thin  space,  .0553;  figures.  .1107. 
Will  run  in  90  channel  layout.  Code  word.  ZICA. 


-('°  LINOTYPE"' > 


HOW  IS  OI\E  TO  ASSESS  AXD  EVALUATE  A 
TYPE  FACE  IX  TERMS  OF  ITS  ESTHETIC  DE 
Hoiv  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  spe- 
cific face  of  type?  What  do  they  see  in  it?  Why 
is  it  so  superlatively  pleasant  to  t  ($<£,.:;'-'?!*) 
Hotv  is  one  to  assess  and  evaluate  a  type  face  in 
tertns  of  its  esthetic  design?  Why  do  the  pace- 


(iiiiir  f>ii„l  leaded) 


ABCDEFGHIJKL]llI\OPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyz  1234567890 
ahcdefyhijhlninopqrstuvtvxyzl2345S7890 

Matrix  Itiformat ion:  14A174.  Length  of  lower  case  alphabet.  235  points.  Comma,  period  and  thin  space,  .0553;  figures,  .1107. 
Will  run  in  90  channel  layout.  Code  word,  ZICO, 


94 


POSTER 
BODOIVI 


HOW  IS  OXE  TO  ASSESS  AND  EVAL 
Hoiv  is  one  to  assesi«i  and  evaluate  a 
type  f aee  in  terms  of  its  esthetic  de 
sign?  Wliy  do  tlie  paee-mal^ers  in  tlie 
art  of  printing  rave  over  a  specific 
face  of  type?  Wliat  do  tliey  see  in  it? 
Wliy  is  it  so  superlatively  pleasant 
to  their  eyes  1234567890  ($5.:;^-'?!) 


{four  point  leaded) 


ABCDEFGHIJKLM]\OPC|RSTVVWX 

abcdefghijklinnopqrstnvwxyz 

Matrix  Information :  18A309.  Length  of  lower  case  alphabet,  300  points.  Comma  and  period.  .0899;  thin  spaces,  .0277  anil  .OH.l; 
figure  1,  .1383;  2  to  0,  .1798.  Will  run  in  Display  Linotypes,  73  channel  layout;  also  caps  in  34  channel  auxiliary  maga/ine  and 
lower  case,  except  m  and  w.  in  cap  side  of  90  channel  magazine.  Code  word,  ZIDE. 


-(•    LINOTYPE  '"> 


HOW  IS  0]\E  TO  ASSESS  AiVD  EVAL 
Hotv  is  one  to  assess  and  evaluate  a 
type  face  in  tertns  of  its  esthetic  de 
sign?  Why  do  the  pacc'itnahers  in  the 
art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant 
to  their  eye  1234567S90  ($^.:^''^?!) 


Hour 


ABCDEFGHIJKLM]%OPqRSTtJVWX 

ahcdetghijhlinnopqrstuvtvxyz 

Matrix  Information  :  18A313.  Length  ui  Krvver  cabe  alphabet.  301  puint'i.  (.omnia  and  permd.  .OR')'-);  tliiii  spaces,  .Ojr7  and  0.'!3; 
figure  1,  .1522;  2  to  0.  .1798.  Will  run  in  Display  Linotypes.  72  channel  layout:  also  L.ips  in  3-1  channel  auxiliary  mafa/iue  and 
lower  case.  e.\cept  m  and  w,  in  cap  side  of  90  channel  magazine.  Code  word.  ZIOV. 


18 

POINT 


18 

POINT 
ITALIC 


95 


POSTER 
BODOIVI 


POINT 


HOW  11$  O^E,  TO  ASSEISS  A 
2!1  Hoiv  is  one  to  assess  and  ev 
aluate  a  type  face  in  terms 
of  its  estlietic  design?  Wliy 
do  the  pace-makers  in  the 
art  of  printing  rave  over  a 
specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it 
so  superlatively  pleasant  t 
o  their  eyes?  Good  design 
is  alivays  practical  design. 
And  ivhat  they  see  in  a  go 
od  type  design  is,  ($,.:;'-'?!) 


(six  point  leaded) 


ABCDEFGHIJKLIUrVOPQ 
RSTIJVWXYZ& 

abcdefghijklmnopqrstu 
1:3345        vwxyz        67890 

Matrix  Information:  24A257.  Length  of  lower  case  alphabet,  409  points.  Comma  and  period,  .0968;  thin  space,  .0277;  figure  1, 
.1937;  2  to  0,  .249.  Will  run  in  Display  Linotypes,  wide  72  channel  layout;  also  lower  case  in  cap  side  of  72  channel  layout. 
Code  word,  ZIED. 


96 


POSTER 
BODO!\I 


POINT 


HOW  IIS  ONE  TO  AS8E 
Hoiiv  is  one  to  assess  an  ^^ 
d  evaluate  a  type  face 
in  terms  of  its  estlietie 
design?  Wliy  do  tlie  pa 
ce-mal^ers  in  tlie  art  of 
printing  rave  over  a  sp 
eeif ie  face  of  type?  Wli 
at  do  tliey  see  in  it?  Wli 
y  is  it  so  super($,.:;*-'?!) 


(  six  f'ii't  leaded) 


ABCDEFGHIJKLMrVO 
PQRSTUVWXYZ& 

abcdefgiiijiilninopqrs 
1S345  tuvwxyz  67890 

Malri.f  Infurmation:  3nA/9.  Length  (if  luwcr  case  alphal]ct.  5()J  p.mits.  ('..iimia  aiul  period.  .\2f,;  tliin  space.  .1,!SJ;  tigure  1. 
.2213;  2  to  II.  .2707.  Will  run  in  w  ule  auxiliary  magazine:  al>o  lower  ca^e  iii  cap  cliainielb  ui  wide  72  cliannel  inaga/uie.  Code 
word.  ZF.K.XS. 


97 


POSTER 
BODOIVI 


36 

POINT 


Hoiiv  is  one  to  asse 
ss  and  evaluate  a 
type  face  in  terms 
of  its  estlietie  des 
ign?  Why  do  tlie  p 
aee-malLers  in  1 12 
34567890  ($,.:;^-'?!) 


(six  point  leaded) 


ABCDEFGIDJKL 

Ml\OPQRSTr 

VWXYZ& 

abcdetghijklmno 

Matrix  Information:  36A123.  Length  of  lower  case  alphabet,  612  points.  Comma  and  period.  .1522;  thin  space,  .0277;  figure  1, 
249;  2  to  0,  .3044.  Caps  pi;  lower  case  and  figures  will  run  in  wide  auxiliary  magazine.  Code  word,  ZADUL. 


98 


POSTER  BODOXI-18  to  72  POINT-APL 

Spci  imoiis  rm  this  page  are  composed  on  the  All-Purpose  Linotype 
72  I'oiiit  Poster  Dodoiii  i72i\l02S)  Lower  case  alphabet,  1247  puiiits.  Code  word,  ZAKYO 

To  give  2 
hii$  types 

60  Point  Poster  Bndoni  (60^1025)  Lower  case  alphabet,  1040  points.  Code  word,  ZAKVA 

WaiBj  a  boy 
assisting  4 

48  Point  Poster  liodoni  (4SA1025)  Lower  case  alphabet,  815  points.  Code  word,  ZAKUY 

His  ability  as 
a  designer  by 

42  Point  Pester  P.odoni  (42A1U25)  l,o\ver  case  alphaliet.  717  points.  Code  word,  Z.AKUS 

Cutting  ivood  9 
bloelcs  gave  tlie 

All-Purpose  Linotype  matrices  are  also  available  in  18,  24,  30  and  36  point  sizes 

99 


POSTER  BODO]\I-84  to  144  POIXT-APL 

Specimens  on  this  page  are  composed  on  llie  All-I'urpose  Linotype 

(■"'^LiNOTYPE^ 

]A4  Point  Poster  Bodoiii  (H-1A1025)  Lower  case  alphabet.  ZS-ib  points.  Code  word,  ZEBUB 


120  Point  Poster  Bodoni  (120A1025)  Lower  case  alplialiet.  2156  points.  Code  word.  ZEBTI 


96  Point  Poster  Bodoni  (96A1025)  Lower  case  alphabet.  1765  points.  Code  word.  ZEBSE 


Spring 


S4  Point  Poster  P>odoni  (S-4A1025}  Alphabet.  1976  points.  Code  word.  ZEBRA  (Lower  case  in  process  of  manufacture) 

SPICES 


100 


POSTER  BODOXI  ITALIC-18  to  48  POIXT-APL 

Specimens  on  this  page  are  composed  on  the  All-I'urpose  I.inuiype 


(--LINOTYPE^ 


48  Puint  Poster  B-dotii  Italic  (■1S^!026)  I...wer  ta^e  alphabi-t.  790  i).iint«;.  CiKle  word.  Z.\.TI-U 

IVot  oniy  was 
Bodoni  great 


42  Point  Poster  Bodoiii  Italic  IA2^l02r>)  Lower  case  alphabet.  700  points,  ('ode  word.  2AJK') 


He  made  many 
books.  Very  49 

36  Point  Poster  Bodoni  Italic  (,16A102C)  Lower  case  alphabet.  610  points.  Code  word.  ZAJJI 

Nicely  created  by 
him.  No  printer  in 


30  Point  Poster  Bodoni  Italic  (30A1026)  Lower  case  alphabet,  500  points,  ('ode  word.  ZAJIV 


His  time  equalled  the 
type  designs  and  his 

24  Point  Poster  Bodoni  Italic  I24A1026I  Lower  case  alphaiiet.  40(>  points.  Code  w<.rd.  ZAJ  I.N 

Printed  pages  conquering 
world  otEtiropean  cttiture 

All-Piirpose  Linotype  matrices  are  also  available  in  18  point 

101 


^^^^^^^^'^^^'^'^^^^^^^^^^^^^^'^^^^'^^^^^^''^k^ 

BODONI 

*A>IIliY              I 

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p 

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BODONI 

POSTER             ( 

^             BOOK 

BOLD 

BODONI             ( 

A 

J  TT 

^  a 

a 

A 

a 

^ 

a 

A 

a 

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a 

A    a     I 

^     B  b 

^      C   c 

B  b 

B 

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B 

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B 

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B 

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B    b     I 

C   c 

C 

c 

C 

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C 

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C    c 

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D  d 

D 

d 

D 

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D 

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B   d 

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$ 

^      E   e 

E  e 

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^      F    f 

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F 

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f 

g 

F 
G 

f 

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F 
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f 

g 

F 
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g 

F 
G 

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^      Hh 

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Linotype 

BOOKMAN 

WITH  ITALIC  AND  SMALL  CAPS 


Few,  if  any,  faces  possess  the  utility  value  of  Bookman  for  adver- 
tising typography  and  commercial  printing.  It  is  exceptionally 
legible,  prints  well  on  antique,  smooth  finished  and  coated  papers, 
and  has  no  annoying  mannerisms  to  distract  the  reader  or  become 
monotonous  and  tiresome  by  continued  use. 

Bookman,  too,  is  at  home  with  practically  any  style  of  display 
face.  Its  virile,  even  weight  of  line  brings  vigorous  color  to  the 
page;  its  simple  design  and  general  clarity  make  it  more  nearly  an 
all-purpose  face  than  any  now  in  use. 

Bookman  is  a  re-christening  of  the  Old  Style  Antique  series 
originated  by  Miller  &  Richard  of  Edinburgh  in  the  1850's;  the 
italic  followed  about  a  decade  later.  Essentially  it  is  a  weighted 
form  of  the  then  popular  Miller  &  Richard  old  style  roman.  Per- 
haps originally  intended  as  a  display  letter  for  headings  and  sub- 
headings, it  quickly  became  popular,  was  soon  used  for  basic  texts 
and  was  widely  copied  by  both  English  and  American  foundries. 

The  Linotype  rendering  of  Bookman  has  been  most  carefully 
considered.  A  critical  analysis  was  made  of  all  previous  designs 
before  cutting,  with  weak  elements  in  certain  characters  corrected. 
The  italic  was  completely  redrawn  to  bring  it  into  better  relation 
with  the  roman,  both  in  design,  character  and  width  of  letter.  An 
even,  harmonious  gradation  of  color  may  now  be  noticed  from  6 
point  through  14  point,  which  enables  the  printer  to  maintain  a 
uniform  page  texture  in  varying  point  size  composition.  Linotype 
Bookman  is  available  in  eight  useful  sizes,  each  accompanied  by 
special  roman  and  italic  small  caps,  all  shown  on  following  pages. 


MERGENTHALER  LINOTYPE  COMPANY 

BROOKLYN,  NEW  YORK 

NEW  YORK  CITY,  CHICAGO,  SAN  FRANCISCO,  NEW  ORLEANS.  CANADIAN 
LINOTYPE,  LIMITED,  TORONTO.  Representatives  in  Principal  Cities  of  the  World 


COMPARISON  OF  SIZES 


TPADr 


6  Point  (6A394)  Lower  case  alphabet.  93  points.  Figures,  .0553 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  tertns  of  its  esthetic  design?  Why  do  the  pace-tnakers  in  VBCD 

7  Point  (7A170)  Lower  case  alphabet,  101  points.  Figures,  .059 
LINDTYPE""0     HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-  1234 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-  VBCD 

8  Point  (8A470)  Lower  case  alphabet.  110  points.  Figures,  .0622 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  VBCD 

9  Point  (9A150)  Lower  case  alphabet,  119  points.  Figures,  .0692 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  estttetic  design?  Wtiy  VBCD 

10  Point  (10A428)  Lower  case  alphabet.  132  points.  Figures,  .0761 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  desig  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  desig  vbcd 

11  Point  (11A132)  Lower  case  alphabet.  144  points.  Figures.  .0899 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  estheti  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  estheti  VBCD 

12  Point  (12A444)  Lower  case  alphabet.  156  points.  Figures.  .0968 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  e  1 234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  e  VBCD 

14  Point  (14A-32)  Lower  case  alphabet,  186  points.  Figures,  .1107 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  ter  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  ter  VBCD 

LIST  OF  CHARACTERS  IN  TWO-LETTER  FONTS 
WITH  ITALIC  AND  SMALL  CAPS 

ABCDEFGHIJKLMNOPQRSTUVWXYZ 
ABCDEFGHIJKLMNOPQRSTUVWXYZ 

ABCDEFGHIJKLMNOPQRSTUVWXYZ 

12345        abcdefghijklmnopqrstuvwxyz        67890 
VBCDE        abcdefghijklmnopqrstuvwxyz        FGRTJ 

,.:;?!(!)*" ^CEtt)86£$  .  ..  fiflffffiffl 

,.S;?/aiqo" ^CE  Tb  &£Ph        .   ..fiYffWM. 

12345        Z&:()flffiffl$geoe        67890     ','. 
12345       \jii:(  )fiffiffl$aeoe       67890     ','. 

Vs  V^  %  y2  %  y4  7/8        H  K  X  Z  &  /E  CE       @     %  f  |  §  ^  -  [  ] 

SPECIAL  TWO-LETTER    SMALL   CAPS  ONE-LETTER    ITALIC    LOGOTYPES 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFCHIJKLMNOPQRSTUVWXYZ&n  ^^       ^    ^^     ^^     ^^^    ^^    ■'^'    *^"^ 

TWO-LETTER    LOGOTYPES 

Ta  Te  To  Tr  Tu  Tw  Ty  Va  Ve  Vo  Wa  We  Wi  Wo  Wr  Ya  Ye  Yo 
Ta  Te  To  Tr  Tu  Tw  Ty  Va  Ve  Vo  Wa  We  Wi  Wo  Wr  Ya  Ye  Yo 

fa  fe  fo  f  r  fs  ft  fu  fy  ffa  ffe  ffo  ffr  ffs  flfu  ffy  f,  f.  f-  ff,  ff.  ff-  f  ff 
fa  fe  fo  fr  fs  ft  fu  fy  ffa  ffe  ffo  ffr  ffs  ffu  ffy  f,  f  f- ff,  ff.  ff- f  ff 


104 


BOOKMAN  with  ITALIC  and  SMALL  CAPS 


6  POINT 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  W 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKE 
How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  art 
of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their 

eyes?  Good  design  is  always  practical  design.  And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent  prac-  C  LINOTYPE"  .) 
tical  fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good 
tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has 
to  do,  neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of  material  and  no  lack  of  strength.  And,  beyond 
that,  the  chair  may  have  been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and  curves  and  propor- 
tions: it  may  be,  actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  letter 
(if  a  true  artist  made  it)  will  have,  besides  its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped  on 
paper  and  read.  That  explains,  in  a  way,  why  the  experts  rave  over  the  fine  shapes  of  letters;  but  it  fails  to  explain 
wherein  the  shapes  are  fine.  If  you  seek  to  go  further  with  the  inquiry,  theories  will  be  your  only  answer.  Here  is  a 
theory  that  the  proponent  thinks  may  have  sense  in  it:  Fine  type  letters  were,  in  the  first  place,  copies  of  fine 
written  letters.  Fine  written  letters  were  fine  because  they  were  produced  in  the  most  direct  and  simple  way 
by  a  tool  in  the  hands  of  a  person  expert  in  its  use,  by  a  person,  moreover,  who  was  an  artist,  i.e.,  a  person 
equipped  to  make  sound  judgments  about  lines,  curves,  and  proportions,  etc.  The  artist  of  that  moment  when 
printing  was  invented  who  furnished  the  fine  written  patterns  for  type  was  (luckily  for  printing)  working  at  the 
top  notch  of  a  fine  tradition  of  calligraphy.  He  was  making  sound  judgments  about  lines  and  curves  and  propor- 
tions of  letters.  He  had  resurrected  an  ancient  distinguished  style  of  writing  and  had  added  to  it  the  quality  of  his 
own  fine  taste.  His  letters  flowed  from  his  pen  easily  and  simply,  without  any  tricks  or  affectations  or  extraneous 
embellishments.  He  was  simple  enough  and  artist  enough  to  let  the  implement  itself  (and  his  facile  hand)  shape 
the  product.  The  fine  qualities  of  this  artist's  letter-forms  were  carried  over  into  the  metal  types  and  sealed  up 
there,  like  butterflies  in  amber.  It  is  argued,  however,  that  the  ascription  of  beauty  to  type  letters  by  this  route 
(i.e.,  via  the  standards  of  calligraphy)  is  false  logic.  If  the  natural  and  simple  and  tastefully  controlled  use  of  an 
implement  produces  a  fine  result,  why  not  start  with  the  process  of  founding  type  instead  of  with  the  process  of 
writing  with  a  pen?  Why  not  cut  punches  and  strike  matrices  and  cast  type  metal  simply  and  naturally  and  taste- 
fully, and  make  types  that  reflect  a  suitable  artistic  use  of  the  process  of  typefounding?  I  think  that  the  argument 
is  esthetically  sound.  There  is  no  common  opinion  about  the  legibility  or  grace  or  vigor  of  various  type  faces  that 
can  be  quoted  as  authority.  One  man's  opinion  is  as  good  as  another's.  Each  commentator  has  his  own  pet  designs 
and  his  own  reasons  for  thinking  them  good.  Some  kind  of  comment  on  the  various  type  faces  in  general  use  is  de- 
sirable in  this  section  merely  for  the  purpose  of  bringing  the  argument  to  a  focus  on  actual  examples.  The  com- 
ment that  follows  has  no  more  weight  than  this:  it  is  what  a  given  person  thinks  about  the  type  faces  that  are  at 
the  service  of  advertisers  in  this  country.  Let  us  begin  by  recalling  the  fact  that  the  specialist  is  in  the  habit  of 
dividing  type  faces  into  two  broad  classes:  "old  style," and  "modern."  The  change  from  old  style  to  modern  took 

(t-.vo  piniit  li-aJt-cl) 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TY 
How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to 
their  eyes?  Good  design  is  always  practical  design.  And 
what  they  see  in  a  good  type  design  is,  partly,  its  excel- 
lent practical  fitness  to  perform  its  work.  It  has  a  "heft" 
and  balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its  parts 
made  nicely  to  the  right  size  to  do  exactly  the  work  that 
the  chair  has  to  do,  neither  clumsy  and  thick,  nor 
"skinny"  and  weak,  no  waste  of  material  and  no  lack  of 
strength.  And,  beyond  that,  the  chair  may  have  been 
made  by  a  man  who  worked  out  in  it  his  sense  of  fine 
shapes  and  curves  and  proportions:  it  may  be,  actually, 
a  work  of  art.  The  same  thing  holds  for  shapes  of  let- 
ters. And  your  chair,  or  your  letter  (if  a  true  artist 
(om-  paint  leaded) 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TY 
How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms 
ot  its  esthetic  design?  Why  do  the  pace-makers  in  the 
art  o(  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to 
their  eyes?  Good  design  is  always  practical  design.  And 
what  they  see  in  a  good  type  design  is,  partly,  its  excel- 
lent practical  fitness  to  perform  its  work.  It  has  a  "heft'* 
and  balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its  parts 
made  nicely  to  the  right  size  to  do  exactly  the  work  that 
the  chair  has  to  do,  neither  clumsy  and  thick,  nor 
"skinny"  and  weak,  no  waste  of  material  and  no  lack  of 
strength.  And,  beyond  that,  the  chair  may  have  been 
made  by  a  man  who  worked  out  in  it  his  sense  of  fine 
shapes  and  curves  and  proportions:  it  may  be,  actually, 
a  work  of  art.  The  same  thing  holds  for  shapes  of  let- 
ters. And  your  chair,  or  your  letter  (if  a  true  artist 
(one  point  leaded) 


ABCDEFGHIJKLMNOP0RSTUVWXYZ& 

ABCDEFCHIJKLMNOPQRSTVVWX  YZ&. 

ABCDEFGHIJKLMNOPQRSTUVWXYZai 

abcdefghijklmnopqrstuvwxyzfiflffffiffl  1234567890  ($  £  ,.:;'-'?!*tt§1l) 

abcdefghijklmnopqrstuvwxyzfiflffffiffi  1234567890  ($£,.:;•-'?!   ii^^) 

SPECIAL  TWO-LETTER  SMALL  CAPS 
ABCDEFGHIJKLMNOPQRSTirVWXYZao 
ABCDEFCHIJKLMNOPQRSTUVWXYZ& 


Mutii.v 


I  nlotinatioii  ; 


dc  uoi.l.  ZKI'ZK, 


iill.li.ii.et. 


FiLiint 


,.1; 


111  thill  sii.ire.  .02 


105 


BOOKMAN  with  ITALIC  and  SMALL  CAPS 


("LINOTYPE"  ) 
7  POINT 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DES 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE 
How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in 
the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively 
pleasant  to  their  eyes?  Good  design  is  always  practical  design.  And  what  they  see  in  a  good  type  design  is, 
partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just 
right  for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size 
to  do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste 
of  material  and  no  lack  of  strength.  And,  beyond  that,  the  chair  may  have  been  made  by  a  man  who 
worked  out  in  it  his  sense  of  fine  shapes  and  curves  and  proportions:  it  may  be,  actually,  a  work  of  art. 
The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  letter  (if  a  true  artist  made  it)  will 
have,  besides  its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped  on  paper  and  read. 
That  explains,  in  a  way,  why  the  experts  rave  over  the  fine  shapes  of  letters;  but  it  fails  to  explain  wherein 
the  shapes  are  fine.  If  you  seek  to  go  further  with  the  inquiry,  theories  will  be  your  only  answer.  Here  is 
a  theory  that  the  proponent  thinks  may  have  sense  in  it:  Fine  type  letters  were,  in  the  first  place,  copies 
of  fine  written  letters.  Fine  written  letters  were  fine  because  they  were  produced  in  the  most  direct 
and  simple  way  by  a  tool  in  the  hands  of  a  person  expert  in  its  use,  by  a  person,  moreover,  who  was  an 
artist,  i.e.,  a  person  equipped  to  make  sound  judgments  about  lines,  curves,  proportions,  etc.  The  artist 
of  that  moment  when  printing  was  invented  who  furnished  the  fine  written  patterns  for  type  was  (luckily 
for  printing)  working  at  the  top  notch  of  a  fine  tradition  of  calligraphy.  He  was  making  sound  judgments 
about  lines  and  curves  and  proportions  of  letters.  He  had  resurrected  an  ancient  distinguished  style  of 
writing  and  had  added  to  it  the  quality  of  his  own  fine  taste.  His  letters  flowed  from  his  pen  easily  and 
simply,  without  any  tricks  or  affectations  or  extraneous  embellishments.  He  was  simple  enough  and 
artist  enough  to  let  the  implement  itself  (and  his  facile  hand)  shape  the  product.  The  fine  qualities  of 
this  artist's  letter-forms  were  carried  over  into  the  metal  types  and  sealed  up  there,  like  butterflies  in 
amber.  It  is  argued,  however,  that  the  ascription  of  beauty  to  type  letters  by  this  route  (i.e.,  via  the 
standards  of  calligraphy)  is  false  logic.  If  the  natural  and  simple  and  tastefully  controlled  use  of  an 
implement  produces  a  fine  result,  why  not  start  with  the  process  of  founding  type  instead  of  with  the 
process  of  writing  with  a  pen?  Why  not  cut  punches  and  strike  matrices  and  cast  type  metal  simply  and 
naturally  and  tastefully,  and  make  types  that  reflect  a  suitable  artistic  use  of  the  process  of  type- 
founding?  I  think  that  the  argument  is  esthetically  sound.  There  is  no  common  opinion  about  the  legibil- 

(two  point  leaded) 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A 
How  IS  ONE  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace-mak- 
ers in  the  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it  so  superla- 
tively pleasant  to  their  eyes?  Good  design  is  always 
practical  design.  And  what  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fitness  to 
perform  its  work.  It  has  a  "heft"  and  balance  in  all 
of  its  parts  just  right  for  its  size,  as  any  good  tool 
has.  Your  good  chair  has  all  of  its  parts  maae  nicely 
to  the  right  size  to  do  exactly  the  work  that  the 
chair  has  to  do,  neither  clumsy  and  thick,  nor 
"skinny"  and  weak,  no  waste  of  material  and  no 
lack  of  strength.  And,  beyond  that,  the  chair  may 
have  been  made  by  a  man  who  worked  out  in  it  his 
(one  point  leaded) 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A 
How  IS  ONE  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace-mak- 
ers in  the  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it  so  superla- 
tively pleasant  to  their  eyes?  Good  design  is  always 
practical  design.  And  what  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fitness  to 
perform  its  work.  It  has  a  "heft"  and  balance  in  all 
of  its  parts  just  right  for  its  size,  as  any  good  tool 
has.  Your  good  chair  has  all  of  its  parts  made  nicely 
to  the  right  size  to  do  exactly  the  work  that  the 
chair  has  to  do,  neither  clumsy  and  thick,  nor 
"skinny"  and  weak,  no  waste  of  material  and  no 
lack  of  strength.  And,  beyond  that,  the  chair  may 
have  been  made  by  a  man  who  worked  out  in  it  his 
(one  pt'int  leaded) 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&. 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflffffiffl  1234567890  ($£,.:;'-'?!*t|:§1I) 

abcdefghijklmnopqrstuvwxyzfififfffiffl  1234567890  ($£,.:;'-'?!   tt§1i; 

SPECIAL  TWO-LETTER  SMALL  CAPS 
ABCDEFGHI JKLMNOPQRSTU  VWXYZ  & 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&. 


Matri.v  Infoniiatiun :  7A1/0.  Lower  case  alplialiet.  101  ])t>i 
chamiel  iiiaijazi.ie.  C.de  ui.r.l.  ZF.RAF. 


Figures.  .059:  cotnina.  period  and  thin  space.  .0277.  Runs  in  90 


106 


BOOKMAN  with  ITALIC  and  SMALL  CAPS 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHE 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  T 

How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it 
so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  practical  design.  And  what  they 
see  in  a  good  type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair 
has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do, 
neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of  material  and  no  lack  of  strength. 
And,  beyond  that,  the  chair  may  have  been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine 
shapes  and  curves  and  proportions:  it  may  be,  actually,  a  work  of  art.  The  same  thing  holds  for 
shapes  of  letters,  And  your  chair,  or  your  letter  (if  a  true  artist  made  it)  will  have,  besides  its  good 
looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That  explains,  in 
a  way,  why  the  experts  rave  over  the  fine  shapes  of  letters;  but  it  fails  to  explain  wherein  the 
shapes  are  fine.  If  you  seek  to  go  further  with  the  inquiry,  theories  will  be  your  only  answer.  Here 
is  a  theory  that  the  proponent  thinks  may  have  sense  in  it:  Fine  type  letters  were,  in  the  first 
place,  copies  of  fine  written  letters.  Fine  written  letters  were  fine  because  they  were  produced  in 
the  most  direct  and  simple  way  by  a  tool  in  the  hands  of  a  person  expert  in  its  use,  by  a  person, 
moreover,  who  was  an  artist,  i.e.,  a  person  equipped  to  make  sound  judgments  about  lines,  curves, 
proportions,  etc.  The  artist  of  that  moment  when  printing  was  invented  who  furnished  the  fine 
written  patterns  for  type  was  (luckily  for  printing)  Working  at  the  top  notch  of  a  fine  tradition  of 
calligraphy.  He  was  making  sound  judgments  about  lines  and  curves  and  proportions  of  letters. 
He  had  resurrected  an  ancient  distinguished  style  of  writing  and  had  added  to  it  the  quality  of  his 
own  fine  taste.  His  letters  flowed  from  his  pen  easily  and  simply,  without  any  tricks  or  affectations 
or  extraneous  embellishments.  He  was  simple  enough  and  artist  enough  to  let  the  implement  itself 
(and  his  facile  hand)  shape  the  product.  The  fine  qualities  of  this  artist's  letter-forms  were  carried 
over  into  the  metal  types  and  sealed  up  there,  like  butterflies  in  amber.  It  is  argued,  however,  that 


HOW  IS  ONE  TO  ASSESS  AND  EVALUAT 
How  IS  ONE  to  assess  and  evaluate  a  type  face 
in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  a 
specific  face  of  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design  is, 
partly,  its  excellent  practical  fitness  to  perform 
its  work.  It  has  a  "heft"  and  balance  in  all  of  its 
parts  just  right  for  its  size,  as  any  good  tool  has. 
Your  good  chair  has  all  of  its  parts  made  nicely 
to  the  right  size  to  do  exactly  the  work  that  the 
chair  has  to  do,  neither  clumsy  and  thick,  nor 

I, -lie  fi'iiit  li-aih-di 


HOW  IS  ONE  TO  ASSESS  AND  EVALUAT 
How  IS  ONE  to  assess  and  evaluate  a  type  face 
in  terms  ot  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  a 
specific  face  ot  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design  is, 
partly,  its  excellent  practical  fitness  to  perform 
its  work.  It  has  a  "heft"  and  balance  in  all  of  its 
parts  just  right  for  its  size,  as  any  good  tool  has. 
Your  good  chair  has  all  of  its  parts  made  nicely 
to  the  right  size  to  do  exactly  the  work  that  the 
chair  has  to  do,  neither  clumsy  and  thick,  nor 


(LINOTYPE     ) 
8  POINT 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&. 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&. 
abcdefghijklmnopqrstuvwxyzfiflffffiffl  1234567890  ($<£,. :;'-'?!^'^ti§r) 
abcdefghijklmnopqrstuvwxyzfiflfffhfH  1234567890  ($£,.:;'-'?.'   fWJ 

SPECIAL  TiVO-LETTEK   SMALL  CAPS 

ABCDEFGHIJKLMNOPQRSTUVWXYZSo 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&i 


Moll 
ih.iTii 


luiliini  :  ^A-t/O.   I.iiwi 
•iiie.  (".kIi-  Ui.i.l.  7.V. 


■  c.Tse  .Tlplialiet.  110  pnints.  Figures 


107 


BOOKMAN  with  IT\LIC  and  SMALL  CAPS 


(■«  LINOTYPE""') 

9  POINT 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  EST 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  W 
How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in 
it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  practical  de- 
sign. And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent  practical  fitness  to 
perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any 
good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do  ex- 
actly the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and  weak, 
no  waste  of  material  and  no  lack  of  strength.  And,  beyond  that,  the  chair  may  have  been 
made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and  curves  and  proportions: 
it  may  be,  actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of  letters.  And  your 
chair,  or  your  letter  (if  a  true  artist  made  it)  will  have,  besides  its  good  looks,  a  suitability 
to  the  nth  degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That  explains,  in  a  way,  why 
the  experts  rave  over  the  fine  shapes  of  letters;  but  it  fails  to  explain  wherein  the  shapes 
are  fine.  If  you  seek  to  go  further  with  the  inquiry,  theories  will  be  your  only  answer.  Here 
is  a  theory  that  the  proponent  thinks  may  have  sense  in  it:  Fine  type  letters  were,  in  the 
first  place,  copies  of  fine  written  letters.  Fine  written  letters  were  fine  because  they  were 
produced  in  the  most  direct  and  simple  way  by  a  tool  in  the  hands  of  a  person  expert  in  its 
use,  by  a  person,  moreover,  who  was  an  artist,  i.e.,  a  person  equipped  to  make  sound  judg- 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  EST 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in 
it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  practical  de- 
sign. And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent  practical  fitness  to 
perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any 
good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do  ex- 
actly the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and  weak, 
no  waste  of  material  and  no  lack  of  strength.  And,  beyond  that,  the  chair  may  have  been 
made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and  curves  and  proportions: 
it  may  be,  actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of  letters.  And  your 
chair,  or  your  letter  (if  a  true  artist  made  it)  will  have,  besides  its  good  looks,  a  suitability 
to  the  nth  degree  to  be  sat  in,  or  stamoed  on  paper  and  read.  That  explains,  in  a  way,  why 
the  experts  rave  over  the  fine  shapes  of  letters;  but  it  fails  to  explain  wherein  the  shapes 
are  fine.  If  you  seek  to  go  further  with  the  inquiry,  theories  will  be  your  only  answer.  Here 
is  a  theory  that  the  proponent  thinks  may  have  sense  in  it:  Fine  type  letters  were,  in  the 

(two  i>oint  leaded  J 
ABCDEFGHIJKLMNOPQRSTUVWXYZ85 

ABCDEFGHIJKLMNOFQRSTUVWXYZ& 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflffffiffl  1234567890  ($£,.:;'-'?!*tt§lI) 

abcdefghijklmnopqrstuvwxyzfififfffifH  1234567890  ($£.,.:;'-'?!  tl§il.) 

SPECIAL  TWO-LETTER  SMALL  CAPS 
ABCDEFGHIJKLMNOPQRSTUVWXYZ85 

ABCDEFGHlJKLMNOPQRSTUVWXYZSn 


Matrix  Information:  9A150.  T.ower  case    ilphabet.  119  piiiuts 
clumiiel  niagazine.  Code  worti,  ZEU.\S. 


period  and  thin  space.  .0277.  Runs  in  90 


108 


BOOKMAN  with  ITALIC  and  SMALL  CAPS 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESI 
How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  (;,.  i  INDTYPE-  "^ 
do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do 
they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  al-  10  FUIN  I 
ways  practical  design.  And  what  they  see  in  a  good  type  design  is,  partly,  its  excel- 
lent practical  fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts 
just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made 
nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither 
clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of  material  and  no  lack  of 
strength.  And,  beyond  that,  the  chair  may  have  been  made  by  a  man  who  worked 
out  in  it  his  sense  of  fine  shapes  and  curves  and  proportions:  it  may  be,  actually,  a 
work  of  art.  The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  let- 
ter (if  a  true  artist  made  it)  will  have,  besides  its  good  looks,  a  suitability  to  the  nth 
degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That  explains,  in  a  way,  why  the 
experts  rave  over  the  fine  shapes  of  letters;  but  it  fails  to  explain  wherein  the  shapes 
are  fine.  If  you  seek  to  go  further  with  the  inquiry,  theories  will  be  your  only  answer. 
Here  is  a  theory  that  the  proponent  thinks  may  have  sense  in  it:  Fine  type  letters 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF 
How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do 
they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  al- 
ways practical  design.  And  what  they  see  in  a  good  type  design  is,  partly,  its  excel- 
lent practical  fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts 
just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made 
nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither 
clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of  material  and  no  lack  of 
strength.  And,  beyond  that,  the  chair  may  have  been  made  by  a  man  who  worked 
out  in  it  his  sense  of  fine  shapes  and  curves  and  proportions:  it  may  be,  actually,  a 
work  of  art.  The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  let- 
ter (if  a  true  artist  made  it)  will  have,  besides  its  good  looks,  a  suitability  to  the  nth 
degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That  explains,  in  a  way,  why  the 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ABCDEFGHIJKLMNOPQRSTUVWXYZ85 

abcdefghijklmnopqrstuvwxyzfiflfi^ffiffl  1234567890  ($£,.:;'-'?!*tl§1I) 
abcdefghijklmnopqrstuvwxyzfiflffffiffi  1234567890  ($  £ ,.:;'-'?!   \ll]\) 

SPECIAL  TWO-LETTEP   SMALL  CAPS 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFCHIJKLMNOPQRSTUVWXYZ& 

Miiliix  Inj.niiialioit  :  inA4_'X.  I.ruvcr  ci^c  .•iliili.-ihcl .  l,i_'  Iloillt^  h'iKUrev.  (1761  ;  i-iiinina.  ih-h.kI  :ii»I  tliin  vii.up.  r077,  \l\u\-  in  90 
.li.uMifl  iii.-ma.'iiu-,  Td,!,.  «,.nl,  ZI■■.K.\^■. 


109 


BOOKMAN  with  ITALIC  and  SMALL  CAPS 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TER 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTH 

(  'LINOTYPE"  0  How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
11  POINT  Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design.  And  what  they  see  in  a  good 
type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has 
a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool 
has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do 
exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor 
"skinny"  and  weak,  no  waste  of  material  and  no  lack  of  strength.  And,  be- 
yond that,  the  chair  may  have  been  made  by  a  man  who  worked  out  in  it  his 
sense  of  fine  shapes  and  curves  and  proportions :  it  may  be,  actually,  a  work 
of  art.  The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  let- 
ter (if  a  true  artist  made  it)  will  have,  besides  its  good  looks,  a  suitability  to 
the  nth  degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That  explains,  in  a 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TER 
How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design.  And  what  they  see  in  a  good 
type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has 
a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool 
has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do 
exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor 
"skinny"  and  weak,  no  waste  of  material  and  no  lack  of  strength.  And,  be- 
yond that,  the  chair  may  have  been  made  by  a  man  who  worked  out  in  it  his 
sense  of  fine  shapes  and  curves  and  proportions:  it  may  be,  actually,  a  work 
of  art.  The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  let- 

(tu'o  point  leaded) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&. 

ABCDEFGHIJKLMNOPQRSTUVWXYZSt 

abcdefghijklmnopqrstuvwxyzfiflffffiffl  1234567890  ($£..:;'-'?!*  ft  §11) 
abcdefghijklmnopqrstuvwxyzfififffnffi  1 234567890  ($  £ ,.:;'-'?!   f  t  § If^ 

SPECIAL  TWO-LETTER  SMALL  CAPS 

ABCDEFGHIJKLMNOPQRSTUVWXYZ85 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&. 

Matrix  InjoDiiation:  \\/\\^2.  I-cwei-  lasu  alphaljut.  14-1  points.  Figures.  .0899;  LOiiiDia.  pciiod  and  thin  space.  .0311.  Runs  in  90 
channel  inatra/ine.  Code  word.  ZKYPA. 


no 


BOOKMAN  with  ITALIC  and  SMALL  CAPS 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  T 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS 

How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  C  linotype^  ) 
design?  Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  spe-  12  POINT 
cific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively 
pleasant  to  their  eyes?  Good  design  is  always  practical  design.  And 
what  they  see  in  a  good  type  design  is,  partly,  its  excellent  practical  fit- 
ness to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts 
just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair 
has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of 
material  and  no  lack  of  strength.  And,  beyond  that,  the  chair  may  have 
been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and 
curves  and  proportions :  it  may  be,  actually,  a  work  of  art.  The  same 
thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  letter  ( if  a  true 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  T 
How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic 
design?  Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  spe- 
cific face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively 
pleasant  to  their  eyes?  Good  design  is  always  practical  design.  And 
what  they  see  in  a  good  type  design  is,  partly,  its  excellent  practical  fit- 
ness to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts 
just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair 
has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of 
material  and  no  lack  of  strength.  And,  beyond  that,  the  chair  may  have 

ABCDEFGHI JKLMNOPQRSTUVWXYZ&  ($£,.:;'-'?!*  f  t  §  H ) 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&.  ($£ ,.:;'-'?!   \%l^) 

ABCDEFGHI  JKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflffffiffl  1234567890 
abcdefghijklmnopqrstuvwxyznnffffiffl  1234567890 

SPECIAL  TWO-LETTER  SMALL  CAPS 
ABCDEFGHIJKLMNOPQRSTUVWXYZ85 

ABCDEFGHI  J  KLMNOPQRSTUVWXYZ&i 

Malri.r  Iiil.n  iu<:ticni  :  12A-f-f-l.  Lower  case  alplialiet.  15fi  piiints.  Fimires.  .0968;  CMiuiii.i.  iHiind  an.l  lliin  -.p.-ice.  .0.14'..  Kvins  i:i  90 
cliaimel  masa/ine.  t'.i.le  wc.nl.  ZKKl'.E. 


Ill 


BOOKMAN  with  ITALIC  and  SMALL  CAPS 


(""LINOTYPE^") 
14  POINT 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TER 

How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its 
esthetic  design?  Why  do  the  pace-makers  in  the  art  of  print- 
ing rave  over  a  specific  face  of  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  de- 
sign is  always  practical  design.  And  what  they  see  in  a  good 
type  design  is,  partly,  its  excellent  practical  fitness  to  per- 
form its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts 
just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair 
has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly 
the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick, 
nor  "skinny"  and  weak,  no  waste  of  material  and  no  lack  of 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE 
How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its 
esthetic  design?  Why  do  the  pace-makers  in  the  art  of  print- 
ing rave  over  a  speciRc  face  of  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  de- 
sign is  always  practical  design.  And  what  they  see  in  a  good 
type  design  is,  partly,  its  excellent  practical  fitness  to  per- 
form its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts 
just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair 

(tzvo  point  leaded) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ85 12345 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&;  12345 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflff ffiffl  ($£,.: ;'-'? !  *  1 1  §  D 

ahcdefghijklmnopqrstuvwxyzMffffiffl ($£,.:;'-'?!   U%*^) 

SPECIAL  TWO-LETTER  SMALL  CAPS 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

Matrix  Information :  14A332.  T.mver  case  alph.'it)et.  186  points.  Figures.  .1107;  comma,  period  and  thin  space,  .038.  Runs  in  90 
channel  magazine.  Code  word.  ZETOS. 


112 


The  specimens  on  this  page  are  improved 
in  texture  and  fitting  through  the  use  of 
thi^  Linotype  "f"  and  other  logotypes. 


^  STAINED    GLASS   WORKS 


ONE  HUNDRED  MARTIN  AVENUE,  CLEVELAND,  OHIO 


How  are  you 


going? 


To  find  the  nearest  in- 
tersecting cross  street 
to  any  number  on  the  principal  thor- 
oughfares, cancel  the  last  figure,  divide 
by  two,  and  add  the  key  number. 

863  Third  Avenue.  Cancel  last  figure  ^86. 
Divide  86  by  two  ^43.  Add  the  key  number  (10) 
^53.  Fifty-third  Street  is  the  nearest  intersect- 
ing cross  street. 

3505  Broadway.  Cancel  las! 


JAMES  MARTIN,  Representative 


vide  by  tw^o  =  175.  Deduct  th 
=  145.  One  Hundred  and  Fort 
nearest  intersecting  street. 

Avenue  A 3  Eighth  Aver 

Avenue  B 3                  BELOW 

Avenue  C 3 

Avenue  D 3  Ninth  Aveni 

First  Avenue 3  Tenth  Aveni 

Second  Avenue 3  Eleventh  A\ 

Third  Avenue 10  Lexington  A 

Fourth  Avenue 8  Madison  Av 

Fifth  Avenue 17  Park  Avenut 

Sixth  Avenue 6  Columbus  A 

Seventh  Avenue 12  Amsterdam 

BELOW  CENTRAL  PARK  Broadway.. 


Top:  Card  set  in  11  and  6  point  Bookman  with  Italii 
ration:  36  point  Xo.  l^OJ  Border  Matrix. 


Deco- 


Centcr:  Mailing  Card  set  in  14. 
Heading:  36  point  Century  Bold. 


8  and  7  point   Bookman. 


Right:  .advertisement,  text  adapted  frr.rn  the  Kimberly- 
Clark  Company's  Iiooklet  Roiogravnyc — Hoiv  and  When  to 
Use  It.  Set  in  1-  point  Bookman,  3  point  leaded.  14  point 
Bookman  Italic  caps.  42  point  Memphis  Bold  and  30  point 
Memphis  Bold. 


BOOKMAN 

AN  IDEAL  TYPE  FOR  PRINTING 

ROTOGRAVURE 

Rotogravure  employs  a  screen  somewhat  com- 
parable to  the  screen  of  ordinary  half-tones,  but 
it  is  always  of  the  same  mesh,  approximately 
corresponding  to  150  line  of  half-tone.  In  the 
actual  printing,  however,  this  screen  is  practi- 
cally invisible.  This  effect  is  due  to  the  several 
distinctive  characteristics  of  rotogravure.  First, 
to  the  sub-surface  etching  of  the  copper  cylin- 
der. Second,  to  the  penetrating  power  of  the 
ink  itself  Third,  to  certain  important  qualities 
of  paper  by  which  the  thin  ink  used  in  rotogra- 
vure is  allowed  to  spread  very  slightly  and  is 
completely  absorbed  without  showing  through 
on  the  opposite  side.  This  combination  of  ab- 
sorptive power  and  opacity  is  of  utmost  im- 
portance, for  rotogravure  employs  no  "make- 
ready!'  Rotogravure  printers  always  advise  the 
use  of  Bookman  type  for  the  best  results. 


CORRECT 

CARE  OF    * 

THE  TEETH 

II 


The  teeth  should  be  cleaned  regularly  twice  a 
day. 

First  rinse  the  mouth  well  with  an  antisep- 
tic mouth  wash  that  will  dislodge  and  destroy 
bacteria.  Be  sure  it  is  not  irritating. 

Your  teeth  and  gums  need  exercise  as  much 
as  your  body.  Eat  enough  coarse  foods  to  do 
some  real  chewing.  Chew  gum  if  you  like;  it  is 
good  for  your  gums. 

Diet  is  important  for  tooth  development, 
and  to  prevent  tooth  decay.  The  main  needs 
of  the  teeth  are  Calcium,  Phosphorus,  and 
Vitamin  D.  These  are,  of  course,  particularly 
important  for  mothers  and  children,  but  every 
adult,  too,  should  be  sure  of  enough  of  these 
to  supply  the  teeth,  because  when  extra  Cal- 
cium is  needed  anywhere  in  the  body,  nature 
may  withdraw  it  from  the  store  in  the  teeth! 

Therefore  include  in  the  diet  green  vege- 
tables, fruit,  eggs,  and  above  all  plenty  of 


PENNY  AND  PE 
LAID  UP 
WILL  BE  MAN 


TTiroTiroTTrFrrffinnnsinr 

ONLY  $  1  is  needed  to  start  an 

All  accounts  of  $5  and  more 

in  the  interest  dividends  whic 

Greenfield  Savings  Bank  has 

failed  to  pay  throughout  its  9  J 

And  these  dividends  also  draw  interest. 

So,  in  this  modern  age,  does  this 
Bank  illustrate  the  truth  of  an  old 


The  specimens  on  this  pa^e  are  improved  in  tex- 
ture and  fitting  through  the  use  of  the  Linotype 
"f"  and  other  logotypes. 


Left:  Folder  set  in  9  point  Bookman.  1  point  leaded,  36  and  24  point 
Gothic  No.  13  caps.  Decoration:  5  point  No.  1303  with  3  point  No.  425 
matrix  slides. 


Center:  Advertisement  set  in  9,  10  and  12  point  Bookman  with  9  and  14 
point  Bookman  Italic.  30  point  Narciss  caps.  Decoration;  8  point  No. 
413  plain  rule  matri.x  slide. 

Bottom:  Advertisement  set  in  10  point  Bookman,  3  point  leaded,  14 
point  Bookman  caps.  7  point  Bookman  Italic.  Decoration:  Rule  matrix 
slides,  2  point  No.  404  and  6  point  No.  1439. 


THREE  NEW  DESIGNS  IN 

WALLPAPE 


STRIPES 

Rainbow  stripes  on  a  French  grey  back- 
ground. Here  is  unity  and  balance  of  color 
and  design.  This  paper  is  excellent  for  large 
bedrooms.  It  is  suitable  also  for  upstairs 
living  or  sitting  rooms.  It  is  one  of  the  latest 
stripe  designs. 

FLOWER 

With  a  flower  design  suggesting  Japanese 
silk,  the  rich  texture  effect  has  been  further 
carried  out  by  printing  the  design  on  colored 
fabric  paper.  For  dining,  living  rooms  and 
halls. 

COLONIAL 

Crisp  chintz  in  gay  and  graceful  design  in- 
spired the  conception  of  this  pattern.  Suit- 
able for  living  room,  hall  or  bedroom  in  a 
colonial  period  home. 


PINE  RIDGE  PAPER   COMPANY 

Manufacturers  of  Wallpaper  since  1890 


ready  at  any  time  should  he  need  it. 

Send  now  for  our  illustrated  booklet, 
"Banking  by  Mail!' 


Interest  starts  from  day  of  deposit 

THE  GREENFIELD  SAVINGS  BANK 

NINE  MAIN  STREET,  GREENFIELD,  MASS. 


Linotyp 


e 


CASLON 

No.  137 


This  cutting  of  Caslon  is  larger,  size  for  size,  than  Lino- 
type Caslon  Old  Face,  and  will  be  found  extremely  useful 
for  both  book  and  advertising  composition  as  well  as 
commercial  printing.  Advertisers  and  printers  generally 
will  welcome  Caslon  No.  137,  for  it  has  sufficient  color  and 
weight  to  [)rint  clearly  on  coated  and  calendered  papers 
—  an  important  factor  where  illustrations  are  considered. 
Six  useful  sizes  are  available,  each  accompanied  by  sup- 
plementary one-letter  italics  and  true-cut  small  caps. 


C'-LINOTYPE  ■") 


Mergenthaler  Linotype  Company 

Brooklyn,  New  York.  Chicago,  San  Francisco,  New  Orleans 
Canadian  Linotyj^e,  Limited, T)ronto,  Canada 


Rcpr,-ienlatbfs  in  tlu-  Prindpdl  C.ilin  "/  thr  Wnrhl 


CASLON 

No.  137 
o 

List  of 
Characters 


LIST   OF   CHARACTERS    IN   TWO-LETTER    FONTS 
WITH    ITALIC   AND   SMALL  CAPS 

ABCDEFGHIJKLMNOPQRSTUVWXYZ 
ABCDEFGHIJKLMNOPQRSTUVWXYZ 

ABCDEFGHIJKLMNOPQRSTUVWXYZ 

12345       abcdefghijklmnopqrstuvwxyz       67890 
VBCDE       abcdefghijklmnopqrstuvwxyz       fgrtj 

,.:;?!(!)*"-  —  .E(Etb&/:^.  ..  fiflffffiffl 

,.s;?/aiqo'' /E  Ql  tb  N  £  p  L       .  .  .  fiv  ff  w  m 

12345       Z&:()flffiffl$sce       67890     : : 
12345       u&:()flffifflScsce      67890     \  \ 

'A  'A  'A  Vi'A%V,     uKxz&jECE    @     %  t  :  §  ^ _  [  ] 


OLD    STYLE    FIGURES 
1234567890 

i234s6y8go 


LONG    DESCENDERS 

g  j  p  q  y 

g  j  p  q  y 


These  characters  may  he  substituted  for  those  regularly  furnished 
with  a  font,  if  so  ordered,   or  they  may  be  added  as  an  extra. 


<°  LINOTYPE    ■>■ 


ONE-LETTER    ROMAN    LOGOTYPES 

SPECIAL    NO.    5 


fa  fe  fo  fr  fs  ft  fu  fy  ffa  ffe  ffo  ffr  ffs  flfu  ffy  f,  f  f-  ff,  ff.  ff-  f  fif 


ONE-LETTER    ITALIC    LOGOTYPES 

FA  PA  TA  VA  WA  YA  Th  Wh 


SPECIAL    NO.    S 


/  af  aff  ef  eff  hf  if  tff  kf  If  mf  nf  of  off  pf  rf  sf  if  uf  nff  yf  If  Of 

ONE-LETTER     ITALIC 
SPECIAL   NO.    5 

abcdefghijklmnopqrstuvwxyz 

TRUE-CUT    SMALL    CAPS 
SPECIAL   NO.   5 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

TWO-LETTER    LOGOTYPES 

Ta  Te  To  Tr  Tu  Tw  Ty  Va  Ve  Vo  Wa  We  WI  Wo  Wr  Ya  Ye  Yo 

Ta  Te  To  Tr  Tu  Tw  Ty  Va  Ve  Vo  Wa  We  Wi  Wo  Wr  Ya  Ye  Yo 

ODecoration  used  in  this  specimen  is  6  point  Border  Matrix  No.  82. 


114 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY 
DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  OF  TYPE?  WHAT 


How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of 
its  esthetic  design?  Why  do  the  pace-makers  m  the  art  of 
printing  rave  over  a  specific  face  of  type?  What  do  they 
see  in  it?  Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design.  And  what 
they  see  in  a  good  type  design  is,  partly,  its  excellent 
practical  fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as  any 
good  tool  has.  ^bur  good  chair  has  all  of  its  parts  made 
nicely  to  the  right  size  to  do  exactly  the  work  that  the 
chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny" 
and  weak,  no  waste  of  material  and  no  lack  of  strength. 
And,  beyond  that,  the  chair  may  have  been  made  by  a 
man  who  worked  out  in  it  his  sense  of  fine  shapes  and 
curves  and  proportions:  it  may  be,  actually,  a  work  of 
art.  The  same  thing  holds  for  shapes  of  letters.  And  your 
(sulid) 

■OTTie  same  thing  holds  Jor  shapes  oj  letters.  A  nd  your  chair,  or 
your  letter  (if  a  true  artist  made  it)  will  have,  besides  its  good 
looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped  on 
paper  and  read.  That  explains,  in  a  way,  why  the  experts  rave 
(Onc-Lctter  Italic) 


How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of 
its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of 
printing  rave  over  a  specific  face  of  type?  What  do  they 
see  in  it?  Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design.  And  what 
they  sec  in  a  good  type  design  is,  partly,  its  excellent 
practical  fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as  any 
good  tool  has.  Your  good  chair  has  all  of  its  parts  made 
nicely  to  the  right  size  to  do  exactly  the  work  that  the 
chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny" 
and  weak,  no  waste  of  material  and  no  lack  of  strength. 
And,  beyond  that,  the  chair  may  have  been  made  by  a 
man  who  worked  out  in  it  his  sense  of  fine  shapes  and 
curves  and  proportions:  it  may  be,  actually,  a  work  of 
art.  The  same  thing  holds  for  shapes  of  letters.  And  your 
chair,  or  your  letter  (if  a  true  artist  made  it)  will  have, 
besides  its  good  looks,  a  suitability  to  the  «th  degree  to 
be  sat  in,  or  stamped  on  paper  and  read.  That  explains,  in 
(one  point  leaded} 


ABCDEFGHIIKLMNOPQRSTUVWXYZ& 

ABCDEFGHfjKLMNOI'QRSTU  V  WXy/li 

ABCDEFGHIJKLMNOPQRSTUVWXVZ& 

abcdefghijklmnopqrstuvwxvzfiflffffiffl  12.U5678O0  (?/ ,.:;'-'?!*+t§1i)  1214567890 
abcdejghijklmnopqrstuvw.xyzfiflfffiffi  12S45c,7S9U  ($  i  , ..•;'-'.?.'  \iW  12345678^)0 

ONE-LETTER  ITALIC,  SPECIAL  NO.  5  TRUE-CUT  SMALL  CAPS,  SPECIAL  NO    5 

abcdejghijklmnopqrslinwxyz  ABCDEFGHIJKLMNOPQRSTUVVk'XYZ& 

Malri.r  I njonnatiou  :  7AI^>8.  Lower  case  alphabet,  90  points.  Figures,  .0-184:  ccnima.  periud  and  lliiii  space, 
channel  magazine.  Code  word,  ZENNO. 


CASLON 

No.  137 

POINT 


-C     LINOTYPE"- > 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A 
WHY  DO  THE  PACE-MAKERS  IN  THE  ART 
How  IS  ONE  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design.?  Why  do  the  pace-mak- 
ers in  the  art  of  printing  rave  over  a  specific  face  of 
type.'  What  do  they  see  in  it?  Why  is  it  so  superla- 
tively pleasant  to  their  eyes?  Good  design  is  ahvays 
-practical  design.  And  what  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fitness  to 
perform  its  work.  It  has  a  "heft"  and  balance  in  all 
of  its  parts  just  right  for  its  size,  as  any  good  tool 
has.  Your  good  chair  has  all  of  its  parts  made  nicely 
to  the  right  size  to  do  exactly  the  work  that  the 
chair  has  to  do,  neither  clumsy  and  thick,  nor 
"skinny"  and  weak,  no  waste  of  material  and  no 
lack  of  strength.  And,  beyond  that,  the  chair  mav 
isoHd) 

0The  same  thing  holds  jor  shapes  oj  letters.  And  your 
chair,  or  your  letter  ( ij  a  true  artist  made  it)  will  have, 
besides  its  good  looks,  a  suitability  to  the  nth  degree  to  be 
sat  in,  or  stamped  on  paper  and  read.  That  explains,  in 
(One-Letter  Italic) 


TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DE 
OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE 
How  IS  ONE  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace-mak- 
ers in  the  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it  so  superla- 
tively pleasant  to  their  eyes?  Good  design  is  always 
practical  design.  And  what  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fitness  to 
perform  its  work.  It  has  a  "heft"  and  balance  in  all 
of  its  parts  just  right  for  its  size,  as  any  good  tool 
has.  Your  good  chair  has  all  of  its  parts  made  nicely 
to  the  right  size  to  do  exactly  the  work  that  the 
chair  has  to  do,  neither  clumsy  and  thick,  nor 
"skinny"  and  weak,  no  waste  of  material  and  no 
lack  of  strength.  And,  beyond  that,  the  chair  may 
have  been  made  by  a  man  who  worked  out  in  it  his 
sense  of  fine  shapes  and  curves  and  proportions:  it 
may  be,  actually,  a  work  of  art.  The  same  thing 

(one  point  leaded) 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGH1]KLMN0PQRSTUVWXYZ^ 

ABCDEFCHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflfi'ffiffl  1234567890  (?/,.:;'-'? !*tt§1i)  1234,-67890 
abcdefghijklmnopqrstuvwxyzfiflffffiffl  1234567890  {$  £ ,.:;'-'?!  UhV  1:234567890 


ONE-LETTER   ITALIC,  SPECIAL  NO.  5 

abcdejgh  ijklm  nopqrst  uvwxyz 


TRUE-CUT  SMALL  CAPS,  SPECIAL  NO   5 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 


Matrix  Information :  8A46^.  Lower  case  alphabet,  103  points.  Figures.  .0553:  comma,  period  and  thin  space.  .0277.  Runs  in  90 
channel  magazine.  Code  word.  ZENOM. 


115 


CASLON 

No.  137 
o 
9 

POINT 


HOW  IS  ONE  TO  AbSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  EST 
DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVE 

How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it 
so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  practical  design.  And  what  they 
see  in  a  good  type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair 
has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do, 
neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of  material  and  no  lack  of  strength. 
And,  beyond  that,  the  chair  may  have  been  made  by  a  man  who  worked  out  in  it  his  sense  of 
fine  shapes  and  curves  and  proportions:  it  may  be,  actually,  a  work  of  art.  The  same  thing 
holds  for  shapes  of  letters.  And  your  chair,  or  your  letter  (if  a  true  artist  made  it)  will  have, 
besides  its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped  on  paper  and 
read.  That  explains,  in  a  way,  why  the  experts  rave  over  the  fine  shapes  of  letters;  but  it  fails  to 
explain  wherein  the  shapes  are  fine.  If  you  seek  to  go  further  with  the  inquiry,  theories  will  be 
your  only  answer.  Here  is  a  theory  that  the  proponent  thinks  may  have  sense  in  it:  Fine  type 
letters  were,  in  the  first  place,  copies  of  fine  written  letters.  Fine  written  letters  were  fine  be- 
cause they  were  produced  in  the  most  direct  and  simple  way  by  a  tool  in  the  hands  of  a  person 
expert  in  its  use,  by  a  person,  moreover,  who  was  an  artist,  i.e.,  a  person  equipped  to  make 
sound  judgments  about  lines,  curves,  proportions,  etc.  The  artist  of  that  moment  when  print- 
ing was  invented  who  furnished  the  fine  written  patterns  for  type  was  (luckily  for  printing) 
working  at  the  top  notch  of  a  fine  tradition  of  calligraphy.  He  was  making  sound  judgments 
about  lines  and  curves  and  proportions  of  letters.  He  had  resurrected  an  ancient  distinguished 
style  of  writing  and  had  added  to  it  the  quality  of  his  own  fine  taste.  His  letters  flowed  from  his 
pen  easily  and  simply,  without  any  tricks  or  affectations  or  extraneous  embellishments.  He  was 
simple  enough  and  artist  enough  to  let  the  implement  itself  (and  his  facile  hand)  shape  the 
product.  The  fine  qualities  of  this  artist's  letter-forms  were  carried  over  into  the  metal  types 
and  sealed  up  there,  like  butterflies  in  amber.  It  is  argued,  however,  that  the  ascription  of 
beauty  to  type  letters  by  this  route  {i.e.,  via  the  standards  of  calligraphy)  is  false  logic.  If  the 
natural  and  simple  and  tastefully  controlled  use  of  an  implement  produces  a  fine  result,  why 
not  start  with  the  process  of  founding  type  instead  of  with  the  process  of  writing  with  a  pen? 
Why  not  cut  punches  and  strike  matrices  and  cast  type  metal  simply  and  naturally  and  taste- 
fully, and  make  types  that  reflect  a  suitable  artistic  use  of  the  process  of  typefounding?  I  think 

(two  point  leaded) 

^Tlxe  same  thing  holds  jor  shapes  of  letters.  And  your  chair,  or  your  letter  {if  a  true  artist  made  it)  will 
have,  besides  its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That 
explains,  in  a  way,  why  the  experts  rave  over  the  fine  shapes  of  letters;  but  it  fails  to  explain  wherein  the 
shapes  are  fine.  If  you  seek  to  go  further  with  the  inquiry,  theories  will  be  your  only  answer.  Here  is  a  the- 

(Onc-Lcttcr  Italic) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHlJKLMNOPQRSTUVWXYZisf 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflfTfiiffl  1234567890  (5 /,.:;'-'?!*tt§11)  1234567890 
abcdefg/ujklmnopqrstuvwxyzfiflffjfiffl  1234567890  ($2,-:;'-?!  tl§1l)  1234567890 

TRUE-CUT  SMALL  CAPS.  SPECIAL  NO    5 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ONE-LETTER   ITALIC,  SPECIAL  NO.  5 

abcdefghijklmnopqrst  uvwxyz 

Matrix  Information:  9A144.  Lower  case  alphabet,  116  points.  Figures.  .0622;  comma,  period  and  thin  space,  .0311.  Runs  in  90 
channel  magazine.  Code  word,  ZENOT. 


116 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF 
ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF 
How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do 
the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they 
see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  desigri  is  alivays  prac- 
tical design.  And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent  practical 
fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for 
its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the 
right  size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick, 
nor  "skinny"  and  weak,  no  waste  of  material  and  no  lack  of  strength.  And,  beyond 
that,  the  chair  may  have  been  made  by  man  who  worked  out  in  it  his  sense  of  fine 
shapes  and  curves  and  proportions:  it  may  be,  actually,  a  work  of  art.  The  same  thing 
holds  for  shapes  of  letters.  And  your  chair,  or  your  letter  ( if  a  true  artist  made  it )  will 
have,  besides  its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped  on 
paper  and  read.  That  explains,  in  a  way,  why  the  experts  rave  over  the  fine  shapes  of 
letters;  but  it  fails  to  explain  wherein  the  shapes  are  fine.  If  you  seek  to  go  further  with 
the  inquiry,  theories  will  be  your  only  answer.  Here  is  a  theory  that  the  proponent 
thinks  may  have  sense  in  it:  Fine  type  letters  were,  in  the  first  place,  copies  of  fine 
written  letters.  Fine  written  letters  were  fine  because  they  were  produced  in  the  most 
direct  and  simple  way  by  a  tool  in  the  hands  of  a  person  expert  in  its  use,  by  a  person, 
moreover,  who  was  an  artist,  i.^.,  a  person  equipped  to  make  sound  judgments  about 
lines,  curves,  proportions,  etc.  The  artist  of  that  moment  when  printing  was  invented 
who  furnished  the  fine  written  patterns  for  type  was  (luckily  for  printing)  working 
at  the  top  notch  of  a  fine  tradition  of  calligraphy.  He  was  making  sound  judgments 
about  lines  and  curves  and  proportions  of  letters.  He  had  resurrected  an  ancient  dis- 
tinguished style  of  writing  and  had  added  to  it  the  quality  of  his  own  fine  taste.  His 
letters  flowed  from  his  pen  easily  and  simply  without  any  tricks  or  affectations  or  ex- 
traneous embellishments.  He  was  simple  enough  and  artist  enough  to  let  the  imple- 
ment itself  (and  his  facile  hand)  shape  the  product.  The  fine  qualities  of  this  artist's 

(two  f<iii}it  Icadi-J) 

'■^  The  same  thing  holds  jor  shapes  of  letters.  A  nd  your  ehair,  or  your  letter  (if  a  true  artist  made 
it)  zvill  have,  besides  its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped  on 
paper  and  read.  That  explains,  in  a  zvay,  why  the  experts  rave  over  the  fine  shapes  of  letters; 
but  it  fails  to  explain  wherein  the  shapes  are  fine.  If  you  seek  to  go  further  with  the  inquiry,  the- 

(Onc-l.cttcr  Italic) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPORSTUVWXYZ'-d 

ABCDEFGHI  TKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflflFffiffll234567890  (5/,.:  ;'-'?!*tt§«;)  1234567890 

abcdefghijklmnopqrstuvwxyzfiflffififfl  1234567S90  ($2,.:;'-?!  U^)  123436^890 

TRUE-CUT  SMALL  CAPS,  SPECIAL  NO    5 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ONE-LETTER  ITALIC,  SPECIAL  NO.  5 

abcdefghijklmnopqrstuvwxyz 


CASLON 

No.  137 

o 

10 

POINT 


Matrix  Information  :  lOA-1-4.  Lower  case  alphabet, 
(.hannel  magazine.  Code  word,  ZKXOZ. 


Figures.  .Of.':'J;  coniina.  period  and  tliin  space.  .0346.  Runs  in  90 


117 


CASLON 

No.  137 

11 

POINT 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERM 
OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE 

How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type? 
What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good 
desig7i  is  always  practical  design.  And  what  they  see  in  a  good  type  design  is, 
partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has.  Y)ur  good 
chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly  the  work 
that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no 
waste  of  material  and  no  lack  of  strength.  And,  beyond  that,  the  chair  may 
have  been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and 
curves  and  proportions:  it  may  be,  actually,  a  work  of  art.  The  same  thing 
holds  for  shapes  of  letters.  And  your  chair,  or  your  letter  ( if  a  true  artist  made 
it)  will  have,  besides  its  good  looks,  a  suitability  to  the  nxh  degree  to  be  sat  in, 
or  stamped  on  paper  and  read.  That  explains,  in  a  way,  why  the  experts  rave 
over  the  fine  shapes  of  letters;  but  it  fails  to  explain  wherein  the  shapes  are 
fine.  If  you  seek  to  go  further  with  the  inquiry,  theories  will  be  your  only  an- 
swer. Here  is  a  theory  that  the  proponent  thinks  may  have  sense  in  it:  Fine 
type  letters  were,  in  the  first  place,  copies  of  fine  written  letters.  Fine  written 
letters  were  fine  because  they  were  produced  in  the  most  direct  and  simple  way 
by  a  tool  in  the  hands  of  a  person  expert  in  its  use,  by  a  person,  moreover,  who 
was  an  artist,  i.e.,  a  person  equipped  to  make  sound  judgments  about  lines, 
curves,  proportions,  etc.  The  artist  of  that  moment  when  printing  was  in- 
vented who  furnished  the  fine  written  patterns  for  type  was  ( luckily  for  print- 
ing) working  at  the  top  notch  of  a  fine  tradition  of  calligraphy.  He  was  making 

(two  point  leaded) 

^The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  letter  (if  a  true 
artist  made  it)  will  have,  besides  its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in, 
or  stamped  on  paper  and  read.  That  explains,  in  a  way,  why  the  experts  rave  over  the 
fine  shapes  of  letters;  but  it  fail:  to  explain  wherein  the  shapes  are  fine.  If  you  seek  to  go 


(One-Letter  Italic) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&  ($/,.:;'-'?! *t«f) 
ABCDEFGHIJKLMNOPORSTUVWXYZ& ($£,.:;'-'?/  it^%) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflffffiffl  1234567890  1234567890 
abcdefghijklmnopqrstuvwxyzfiflffffi'ffl  1234567890  i2j4s6y8go 

TRUE-CUT  SMALL  CAPS,  SPECIAL  NO.  5 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ONE-LETTER  ITALIC,  SPECIAL  NO.  5 

abcdefghijklmnopqrstuvwxyz 

Matrix  Injormation :  11A122.  Lower  case  alphabet,  141  points.  Figures.  .0761;  comma,  period  and  thin  space.  .038.  Runs  in  90 
channel  magazine.  Code  word.  ZENPU. 


118 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN 
TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-M 

How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant 
to  their  eyes?  Good  design  is  always  practical  design.  And  what  they  see 
in  a  good  type  design  is,  partly,  its  excellent  practical  fitness  to  perform 
its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Yjur  good  chair  has  all  of  its  parts  made  nicely 
to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither 
clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of  material  and  no 
lack  of  strength.  And,  beyond  that,  the  chair  may  have  been  made  by  a 
man  who  worked  out  in  it  his  sense  of  fine  shapes  and  curves  and  propor- 
tions: it  may  be,  actually,  a  work  of  art.  The  same  thing  holds  for  shapes 
of  letters.  And  your  chair,  or  your  letter  (if  a  true  artist  made  it)  will 
have,  besides  its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in, 
or  stamped  on  paper  and  read.  That  explains,  in  a  way,  why  the  experts 
rave  over  the  fine  shapes  of  letters;  but  it  fails  to  explain  wherein  the 
shapes  are  fine.  If  you  seek  to  go  further  with  the  inquiry,  theories  will 
be  your  only  answer.  Here  is  a  theory  that  the  proponent  thinks  may 
have  sense  in  it:  Fine  type  letters  were,  in  the  first  place,  copies  of  fine 
written  letters.  Fine  written  letters  were  fine  because  they  were  pro- 
duced in  the  most  direct  and  simple  way  by  a  tool  in  the  hands  of  a  per- 


(fn'o  point  leaded ) 

'^The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  letter  (if  a 
true  artist  made  it)  will  have,  besides  its  good  looks,  a  suitability  to  the  nth  de- 
gree to  be  sat  in,  or  stamped  on  paper  and  read.  That  explains,  in  a  way,  why 
the  experts  rave  over  the  fine  shapes  of  letters;  but  it  fails  to  explain  wherein  the 

(Onc-Lctfcr  Italic) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&  ($;{:, .:;'-'?!*tt§11) 
ABCDEFGHIJKLMNOP'QRSTUVWXYZ^  (S £  ,.:;'-'F/  tt:§^; 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflfi"fiiffl  1234567890 1234567890 
abcdefghijkhnnopqrstuvwxyzfiflffffifi  1234567890  I2^^4S6/8qo 

TRUE-CUT  SMALL  CAPS,  SPECIAL  NO,  5 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ONE-LETTER   ITALIC.  SPECIAL  NO.  5 

abcdefghijklmnopqrstuvwxyz 

Matrix  Iniorination:  12^440.  Lower  case  alpluibet.  155  piiints.  Figures,  .OSJ;  comma.  pericKl  and  tliin  space.  ,1)41.5,  Huns  in  'JO 
channel  niaj^a/ine.  Code  word,  ZENRA. 


CASLON 

No.  137 


12 

POINT 


*,*^*,*^*y',*,*,*. 


^5^ 


119 


COMPARISON  OF  SIZES 
CASLON  No.  137 


0         a         o 

7  Point  (7A168)  Lower  case  alphabet,  90  points.  Figures,  .0484 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of 
prmting  rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes? 
Good  design  is  always  practical  design.  And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent  practical  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  a  VBCD 

8  Point  (8A466)  Lower  case  alphabet,  103  points.  Figures,  .0553 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DE 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in 
the  art  of  printmg  rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively 
pleasant  to  their  eyes?  Good  design  is  always  practical  design.  And  what  they  see  in  a  good  type  des  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  jace  in  terms  of  its  esthetic  design?  Why  do  the  pace-tn  vbcd 


9  Point  (9A144) 


Lower  case  alphabet,  116  points.  Figures,  .0622 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  EST 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design.?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific  face  of  type.?  What  do  they  see  in  it?  Why  is  it 
so  superlatively  pleasant  to  their  eyes.?  Good  design  is  always  practical  design.  And  what  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  jace  in  terms  of  its  esthetic  design?  Eliy  do  t  vbcd 


10  Point  (10A424) 


Lower  case  alphabet,  129  points.  Figures,  .0692 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design.?  Why  do 
the  pace-makers  in  the  art  of  prmting  rave  over  a  specific  face  of  type?  What  do  they 
see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  1234 

HOW  IS  ONE  to  assess  and  evaluate  a  type  jace  in  terms  of  its  esthetic  design?  vbcd 


11  Point  (11A122) 


Lower  case  alphabet,  141  points.  Figures,  .0761 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERM 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type? 
What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  jace  in  terms  of  its  esthetic  tivBCD 


12  Point  (12A440) 


Lower  cise  alphabet,  155  points.  Figures.  .083 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  plea  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  jace  in  terms  oj  its  est  vbcd 


>^«*$^^^^««>^$^^^^$*«*^$^-$«>$$<5««««5^^^^^$>^^$*^^^$«^^*^^««^«>^«>$^^^ 


120 


rv-^-  JV^-  -^V^^-  -^-^  -^^Mraiir  V ■TTT^rawi^'y'^  -^V/^*-  --"Vxy"-  ■^W'-  ■'"^^^-JT''-  -"V-^n- 


Caslon  Old  Face 


H 


:l^'^'^   tL^*^^   i^"^   i^^'^'-   lA'^'"   ^^AJ■   t^'^s   tJ^'^   tJ!"f<j^   zJ^-^is   iJ^'^   tJf"^   ■iJ^'^s   i^'^i^ 


^  ~l  Specimen  off//eFc?/f//f///J^epro- 
ductioii^  by  Linotype^  otl/"^illii]in 
ClIsIoii  's  Origiihil  Types  %^Xow 
^-l-JiiiLible  ill  l1  Comp/efe  J^Jz/ge 
of  Sizes  in  BotJi  RomLiii  dnd Itdiie 
MergeiitJmler  Linotype  ConpLiiiy 
Brool{l\n^  Xeic  \  ^orL 


CHICAGO,  SAN  FRANCISCO,  NEW  ORLEANS,  CANAPIAN  LINOTYPE,  LIMITED, 
TORONTO.   REPRESEN  IALI\"ES  IN  THE  PRINCIPAL  CI  LIES  OF  THE  WORLP 

^  V^  jSk-^r^'^^;^  'jv^ '  jvV^"  -"v^^  -"v^v^  -"v-^  -v-^  --^"^  -■v-^  --'V'^  -vv^  -"V-v^  -"\ 


LINOTYPE  CASLON  OLD  FACE  IS 
AUTHENTIC  IN  EVERY  DETAIL 

^^^HESE  pages  which  you  are  looking  at  now,  are  in 
themselves  the  most  convincing  possible  proof  of 
i  the  fact  that  Linotype  Caslon  Old  Face  is  an  exact 
and  faithful  reproduction  of  the  original  Caslon 
letter,  for  while  most  of  these  two  pages  have  been  set  on  the 
Linotype,  several  of  the  lines  are  hand  composed  in  type  cast 
from  matrices  still  in  the  possession  of  H.  W.  Caslon  &  Co.,  Ltd. 


of  England.  If  you  can  pick  out  the  hand-set  lines  you  can  well 
feel  proud  of  an  eye  that  is  more  than  usually  keen,  for  few  have 
made  a  perfect  score  in  attempting  to  determine  which  was  the 
original  and  which  the  copy. 

Among  the  great  type  faces  that  form  the  modern  printer's  heri- 
tage, none  has  suffered  more  grievously  than  has  Caslon  from  the 
efforts  of  succeeding  generations  of  type  founders  to  improve 
and  refine  what  was  in  its  original  state  the  finest  vehicle  for  the 
printed  conveyance  of  English  speech  that  the  art  of  the  punch- 
cutter  has  yet  devised.  Better  than  any  other  face,  Caslon  seems 
to  adapt  itself  to  the  peculiar  groupings  of  letters  that  occur  in 
English  words.  Though  for  variety's  sake  we  may  turn  from  time 
to  time  to  other  more  consciously  aesthetic  types,  we  come  back 
again  and  again  to  the  abiding  comfort  and  simplicity  of  Caslon. 
It  seems  to  fit  our  eyes,  our  thoughts,  our  moods,  our  habits;  we 
feel  entirely  at  home  in  Caslon. 

Like  most  other  great  achievements,  Caslon  Old  Face  was  a  de- 
velopment rather  than  a  single  stroke  of  genius;  it  represents  the 
ultimate  step  in  an  evolution  of  English  type  design  that  started 
some  sixty  years  earlier  with  the  importation  by  Dr.  John  Fell  of 
some  Dutch  type  for  the  use  of  the  Oxford  University  Press. 
From  that  time  on  the  Dutch  influence  predominated  and  it  was 
upon  Dutch  models  that  Caslon's  work  was  based.  Besides  his 
alphabets,  Caslon  cut  a  great  variety  of  decorative  units,  many  of 
which  have  been  reproduced  for  use  on  the  Linotype  and  are 
shown  on  another  page  of  this  folder. 


These  two  pages  are  set  partly  in  Eiii^lish  Cai^lnn  hand  iv[h'  ;ii!.!  p.irrlv 
in    Linotype    Caslon    Old    Face    employing    the    long    "f"    logntypt-s. 

SPECI  FICATI  ONS- WfjJiN^:  24  point  Caslon  Old  Face  caps.  Tfxt:    iS  point  Caslmi  Old  Face  with  "f"  logotvpes,  two  point  leaded. 
Ltgetid:  10  point  Caslon  Old  Face,  oTie  point  leaded.  I)fc«rjtinti :    12  point  Linotype  Horder,  (;-6R,  CJ-6L,  and  1  point  slides  40J  and  404. 


Y^inotype  C  as  Ion  Old  ¥a( 


6  Point  (6A224)  Lower  case  alphabet.  77  points.  Figures,  .0484 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  o  12 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  <"  Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  o  VB 

8  Point  {8A312)  Lower  case  alphabet.  93  points.  Figures,  .0553 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  T 

How  is  one  to  assess  and  evaluate  a  type  face  In  terms  of  its  esthetic  design  ?  Why  do  the  pace-makers  in  the  art  of  printing  rav  1 2 
Ho'cv  is  one  to  assess  and  ez'aluate  a  type  face  in  terms  of  its  esthetic  design  ?  Why  do  the  pace-makers  in  the  art  of  printing  rat'  vB 

9  Point  (9A82)  Lower  case  alphabet.  106  points.  Figures,  .0622 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  W 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of  12 
Hoiv  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  estlietic  design?  Wliy  do  the  pace-makers  in  tlie  art  of  VB 


10  roiiit  (lOA-80) 


Lower  case  alphabet,  111  points.  Figures,  .0692 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DES 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  a  1  2 
Hozv  is  one  to  assess  atid  ez'aliiate  a  tyfe  face  in  tertns  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  a  vb 


11  Point  (11A76) 


Lower  case  alphabet,  122  points.  Figures,  .0761 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ES 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  ?  Why  do  the  pace-maker  1 2 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  ?  Why  do  the  face-maker  VB 


II'..  Point  (ll;;-A4) 


Lower  case  alphabet,  133  points.  Figures,  .0761 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS 

How  Is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pac  12 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design'^  Why  do  the  fac  vb 


12  Point  (12A236) 


Lower  case  alphabet,  141  points.  Figures,  .083 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  th  12 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  th  vb 


14  Point  (14A132) 


Lower  case  alphabet,  159  points.  Figures,  .0968 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TER 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  12 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  vb 


124 


omparison  of  Voint  Shes 


IS  I'uiiit  (lSA16y)  Lower  case  alplialjct,  185  points.  Figures.  .1107 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE 

How  is  one  to  assess  and  evaluate  a  type  faee  in  terms  of  its  estheti  12 

21  Point  (JIA.'I  Lower  Lasc  alphabet.  2M>  p.Diit-..   I'lKure-,.  .U.S.! 

HOW  IS  one  to  assess  and  evaluate  a  type  face  in  1 12 

24  Point   (2-1A127)  Lou  er  ease  alphabet.  2fi2  i>oinfs.  I"iKures.  AC/, 

HOW  IS  one  to  assess  and  evaluate  a  type  fac  1 2 

30  Point  I.WA129I  Lower  case  alph.abet.  .lU  iwiints.  Figures.  .207=; 

HOW  IS  one  to  assess  and  evaluate  1 2 


3r.  Tniiit  (.v.Asn 


I.nwer  c.'ise  aljihahet.  -ITR  points.  Fitjures.  .24^ 


HOW  IS  one  to  assess  and  e  1 2 

! 

!     18  Point  Italic  I1SA171)  Lower  case  alpliabet.  175  points.  Figures.  .1107 

^  HOW  IS  ONE  TO  ASSESS  AND  EVALUA  TE  A  TYPE  FA 
Hoiv  is  one  to  assess  ajid  evaluate  a  type  face  in  terms  of  its  esthetic  de  12 


21  Point  Italic  (21A.^1 


Lower  case  .alphabet.  212  points.  Fiuures,  .l.'iR.I 


HOW  IS  one  to  assess  and  evaluate  a  type  face  in  term  12 

24  Point  Italic  (2-IA12M  Lower  lase  alphabet.  2,55  p..inls.  Figures.  .166 

HOW  IS  one  to  assess  and  evaluate  a  type  face  in  12 


]      18  Point  Small  Caps  lU'AlCT)  Kmts  in  lower  case,  center  or  cip  chaiuiels  in'  'JD  ch.innel  niaga/ine 

:  How  Is  One  to  Assess  and  Evaluate  a  Type  Face  in  Terms  of  Its 


\      24  Point  Small  Laps  IJ4A127) 


Kuns  m  caj)  ch.mnels  oi  0)i  cli.mnel  ni,-igazine 


How  Is  One  to  Assess  and  Evaluate  aType  F 


125 


L  ist  ofC  haracters  in  T^(9-L  etter  ¥onts 

WITH    ITALIC   AND    SMALL    CAPS 


ABCDEFGHIJKLMNOPQRSTUVWXYZ 

ABCDEFGHIJKLMNOPQRSTUVWXYZ 

ABCDEFGHIJKLMNOPQRSTUVWXYZ 

12345  abcdefghijklmnopqrstuvwxyz  67890 

VBCDE  abcdefghijklmnofqrstuvwxyz  fgrtj 

,:;r!(|)*"-  —  ^CEIb&£$...  fiflffffifflsoe 

.Sj-P/aiqo'' JE  CE  Tb  ^  £  V  I.        .   .  .  fi  v  ff  w  m  k  h 

12345  Z  &  :  (  )  flffiffl$a;ceQy  Qli  67890     ]: 

12345  v^  :  (  J  flffifflSa-ce  QU  Qh  67890     y. 

ysy4Hy2Hy4H    x  z  &  .-e  ce    @  %  t  $  §  u  -  [  ] 


SWASH    CHARACTERS  "      OLD   STYLE    FIGURES 

^B CT) eg jT^Jl^in^TQ_%rv  r &       1234567890    1234567890 

Made  in  all  sizes  and  may  be  ordered  as  extras  Made  in  all  point  sizes,  and  will  be  substituted 

for  those  regularly  furnished  with  a  font,  if  so 
ordered,  or  they  may  be  added  as  an  extra 


ONE-LETTER    ROMAN    LOGOTYPES 
SPECIAL    NO.   5 

fa  fe  fo  fr  fs  ft  fu  fy  ffa  ff e  ffo  ffr  ffs  ffu  ffy  f,  f  f-  ff ,  ff.  ff-  f  If 

ONE-LETTER    ITALIC    LOGOTYPES 

FA  PA  TA  VA  WA  YA  Th  Wh 

SPECIAL    NO.    5 

j  aj  af  ej  eg  hj  ij  (ff  kj  Ij  mj  nj  oj  off  pj  rj  sj  tj  uj  ug  jj  Ij  OJ  Off 

ONE-LETTER    ITALIC  S  PEC  I  AL  T  WO  -  LETTE  R    SMALL   CAPS 

SPECIAL  NO.  5  ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdejghJjklmnopqrstUVWxyZ  ABCDEFGHIJKLMNOPQRSTUVWXYZ^ 

TWO-LETTER    LOGOTYPES 

E  E  Ta  Te  To  Tr  Tu  Tw  Ty  T  Va  \^e  \b  V  Wa  We  Wi  Wo  Wr  W.  Ya  Ye  ^o  Y. 
EP.TaTe  To  Tr  Tu  Tw  Ty  T.  Va  Ve  Vo  V.  Wa  We  117  lib  Wr  W  Ya  Ye  Yo  Y 

fa  fe  fo  fr  fs  ft  f u  fy  ffa  ff e  ffo  ffr  ffs  ffu  ffy  f ,  f  f-  ff ,  ff .  ff-  f  ff 
fafefofrfsftfufyfafefofrfsfufyf,f.f-f,f.f-fff 


LONG    DESCENDERS  SHORT    DESCENDERS 


gjpqy        g  j  f  q  y  Jgjpqy34579()       g  j  fqy  3  4  57  9 

e  in  S.  10.  11.  12  and  14  point  sizes  and  may  be  substituted  for  ^I^<ie  for  all  point  sizes  and  may  be  substituted  for  regular  charac- 
■gular  characters  or  may  be  ordered  as  an  extra.  These  char-  "^'■*-  o""  '"^y  be  ordered  as  an  e.vtra.  These  characters  permit 

acters  cast  on  a  body  size  one  point  larger  than  indicated  c^i^nns  on  a  smaller  body  s.ze  than  indicated 


126 


Caslon  old  Face  with  Italic 


»$^-$$^^^$^$^^>^$^^^^^!»«^-5>?^^;*^^^^-?»«««-^- 


ifiiti*^^*^*^*^*^*^*^*.* 


-AV  >  ^  ^  ^  ^  ^  ^  ^^^^ 


►^i^^iS^-^-^^S^^^^^^^^i^^^^^^ 


SIX    POINT 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN'   WHY  DO  THE  PACE-MAKERS  IN  THE 
ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  OF  TYPEr   WHAT  DO  THEY  SEE  IN  IT:   WHY  IS  IT  SO  SUPERLATIVELY  PLEASANT 


HOW  IS  ONE  to  assfss  and  evaluate  a  type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  itr  Why  is  it  so  superlatively  pleasant 
to  their  eyes?  Good  design  is  always  practical  dt-sign.  And  what  they  see 
in  a  good  type  design  is,  partly,  its  excellent  practical  fitness  to  perform 
its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely 
to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither 
clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of  material  and  no 
lack  of  strength.  And,  beyond  that,  the  chair  may  have  been  made  by  a  man 
who  worked  out  in  it  his  sense  of  fine  shapes  and  curves  and  proportiotis; 
it  may  be,  actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of  let- 
ters. And  your  chair,  or  your  letter  (if  a  true  artist  made  it)  will  have, 
besides  its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped 
on  paper  and  road.  That  explains,  in  a  wav,  why  the  experts  rave  over  the 
fine  shapes  of  letters;  but  it  fails  to  explain  wherein  the  shapes  are  fine. 
If  you  seek  to  gn  further  with  the  inquirv,  theories  will  be  your  only  an- 
swer. Here  is  a  theory  that  the  proponent  thinks  may  have  sense  in  it :  Fine 
type  letters  were,  in  the  first  place,  copies  of  fine  written  letters.  Fine 
written  letters  were  fine  because  they  were  produced  in  the  most  direct 
and  simple  way  by  a  tool  in  the  hands  of  a  person  expert  in  its  use,  by  a 
Hoiv  is  one  tn  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  thev  see  in  it?  Why  is  it  so  superlatively  pleasant 
(solid) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&: 
ABCDEFGHUKLM^^OPQRSTUVWXYZi^ 

AECDEFGHIjKl.MNOrQRSTI_lVWXVZ& 

12^4^67890  abcdefghijklmnopqrstuvwxvzftflffffififl  O-l,.:  /-"  !*tj§1>   Ji-i4^6y^(,o 
12J4567S90  abcdrf'ihijLhmtopqrstuviL-xyzfi}\ffff\f)\  (>C,.:;'-'i  !    f  +  ^J    l2j^i6:S-}u 

Matrix  Injnrmation  :  6A224.  Lower  ca?e  alphabet.  77  points.  Figures.  .0484;  comma,  period  and  tliin  space,  .0277,  Ru 
Code  word.  IRED. 


HOU  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  de- 
sign.' Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  sec  in  it?  Why  is  it  so  superlatively  pleasant 
to  their  eyes?  Good  design  is  alicays  practical  design.  And  what  they  see 
in  a  good  type  design  is,  partly,  its  excellent  practical  fitness  to  perfurm 
its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely 
to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither 
clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of  material  and  no 
lack  of  strength.  And,  beyond  that,  the  chair  may  have  been  made  by  a  man 
who  worked  out  in  it  his  sense  of  fine  shapes  and  curves  and  proportions: 
it  may  be,  actuallv,  a  work  of  art.  The  same  thing  holds  for  shapes  of  let- 
ters. And  your  chair,  or  your  letter  (if  a  true  artist  made  it)  will  have, 
besides  its  good  loiiks,  a  suitability  to  the  «th  degree  to  be  sat  in,  or  stamped 
on  paper  and  read.  That  explains,  in  a  way,  why  the  experts  rave  over  the 
fine  shapes  of  letters;  but  it  fails  to  explain  wherein  the  shapes  are  fine. 
If  you  seek  to  go  further  with  the  inquirv,  theories  will  be  your  only  an- 
swer. Here  is  a  theory  that  the  proponent  thinks  may  have  sense  in  it :  Fine 
type  letters  were,  in  the  first  place,  copies  of  fine  written  letters.  Fine 
written  letters  were  fine  because  they  were  produced  in  the  most  direct 
and  simple  way  by  a  tool  in  the  hands  of  a  person  expert  in  its  use,  by  a 
(oijc  point  li-adcd) 


-{"LINOTYPE' ->- 


E  I  O  1 1 T    P  O  I  N  T 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  T 
PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  OF  TYPE?  WHAT  DO  THEY  SEE 


How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  es- 
thetic design?  Why  do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why 
is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  ai- 
ziays  practical  design.  And  what  they  see  in  a  good  type  design 
is,  partly,  its  excellent  practical  fitness  to  perform  its  work.  It 
has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts 
made  nicely  to  the  right  size  to  do  exactly  the  work  that  the 
chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and 
weak,  no  waste  of  material  and  no  lack  of  strength.  And  be- 
yond that,  the  chair  may  have  been  made  by  a  man  who  worked 

(solid) 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  es- 
thetic design?  Whv  do  the  pace-makers  in  the  art      J  g  j  p  q  y 
(set  TvltJi  short  descenders,  on  seven  point  body) 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  es- 
tlietic  design?  Why  do  the  pace-makers  in  the  art  of      g  j  p  <]  >' 

(set  witlt  long  descenders ,  on  nine  point  body) 


How  ts  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  es- 
tlietic  design?  Why  do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why 
is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  al- 
zcays  praclica!  design.  And  what  they  see  in  a  good  type  design 
is,  partly,  its  excellent  practical  fitness  to  perform  its  work.  It 
has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts 
made  nicely  to  the  right  size  to  do  exactly  the  work  that  the 
chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and 
weak,  no  waste  of  material  and  no  lack  of  strength.  .And  be- 
(  one  point  leaded) 

The  s  \ME  IUING  holds  jor  shapes  0} letters.  And  your  chair,  or  your 
lellei  (ija  tiiie  ailist  made  it)  tcill  have, besides  its  good  looks, a  siii/- 
,ihilit\  to  the  nth  degree  to  />e  >at  in,  or  stamped  on  paper  and  lead. 
That  explanii,  :n  a  '.lay,  ci7;y  the  experts  i az'e  oz'er  the  jine  shapes 
(One-Letter  Italic) 


ABCDEFGHI  TKLMNOPQRSTL'VWXYZ  & 
ASCDEFGHIJKLMNOPQRSTUV\V.\-YZijf 

ABCDEFGHIJKLMNOl'QKSTl  VWXVZi 

I2.H;67890  abcdefghijklmnopqrstuvwxvzfiflffffifn  (*£,.:;'-''  i'^f+gH)  12^567890 
1234567890  abcdefghi/klmnopqrstuvzcxyzfiflffffiffl  ($£,.:;'-'!'!  t+§ll^  '^345(>78>J0 

ONE-LETTER  ITALIC,  SPECIAL  NO,  5  SPECIAL  TWO-LETTER  SMALL  CAPS 

abcdefghijklmnopqr.t.iv^cx^z  ABCDEFGHIJKLMNOPQRSTUVWXYZ& 


Matrix-  Jniorwalio. 
Codeword.  I  REV. 


SA.51-\   I.' 


.^BCDEFGIlIJKL^tNOPQRSTUVWXYZ(J 
cilpliahi-t.  y.3  points.  Figures.  .O.t.t.I;  coinma.  period  .iiid  thin  space.  .0277.  Runs  iti  90  cliatuiel  iiiaKa 


127 


Caslon  Old  Face  zvith Italic 

NINE    POINT 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN? 
WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  OF  TY 
How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of 
printing  rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes? 
Good  design  is  alivays  f  radical  design.  And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent  practical  fit- 
ness to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your 
good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither 
clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of  material  and  no  lack  of  strength.  And,  beyond  that,  the  chair 
may  have  been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and  cur\'es  and  proportions:  it  may  be, 
actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  letter  (if  a  true  artist 
made  it)  will  have,  besides  its  good  looks,  a  suitability  to  the  «th  degree  to  be  sat  in,  or  stamped  on  paper  and  read. 
That  explains,  in  a  way,  why  the  experts  rave  over  the  fine  shapes  of  letters;  but  it  fails  to  explain  wherein  the  shapes 
are  fine.  If  you  seek  to  go  further  with  the  inquiry,  theories  will  be  your  only  answer.  Here  is  a  theory  that  the  propo- 
nent thinks  may  have  sense  in  it:  Fine  type  letters  were,  in  the  first  place,  copies  of  fine  written  letters.  Fine  written 
letters  were  fine  because  they  were  produced  in  the  most  direct  and  simple  way  by  a  tool  in  the  hands  of  a  person 
expert  in  its  use:  by  a  person,  moreover,  who  was  an  artist  {i.e.,  a  person  equipped  to  make  sound  judgments  about 
lines,  curves,  proportions,  etc.) .  The  artist  of  that  moment  when  printing  was  invented  who  furnished  the  fine  writ- 
ten patterns  for  type  was  (luckily  for  printing)  working  at  the  top  notch  of  a  fine  tradition  of  calligraphy.  He  was 
making  sound  judgments  about  lines  and  curves  and  proportions  of  letters.  He  had  resurrected  an  ancient  distin- 
guished style  of  writing  and  had  added  to  it  the  quality  of  his  own  fine  taste.  His  letters  flowed  from  his  pen  easily 
and  simply,  without  any  tricks  or  aff^ectations  or  extraneous  embellishments.  He  was  simple  enough  and  artist  enough 
to  let  the  implement  itself  (and  his  facile  hand)  shape  the  product.  The  fine  qualities  of  this  artist's  letter-forms  were 
carried  over  into  the  metal  types  and  sealed  up  there,  like  butterflies  in  amber.  It  is  argued,  however,  that  the  ascrip- 
tion of  beauty  to  type  letters  by  this  route  {i.e.,  via  the  standards  of  calligraphy)  is  false  logic.  If  the  natural  and 
simple  and  tastefully  controlled  use  of  an  implement  produces  a  fine  result,  why  not  start  with  the  process  of  found- 
ing type  instead  of  with  the  process  of  writing  with  a  pen?  Why  not  cut  punches  and  strike  matrices  and  cast  type 

metal  simply  and  naturally  and  tastefully,  and  make  types  that  reflect  a  suitable  artistic  use  of  the  process  of  type- 

( tu^o  point  leaded) 

How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  How  IS  one  to  assess  and  evaluate  a  type  face  in  terms  of 

its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of 

printing  rave  over  a  specific  face  of  type?  What  do  they  printing  rave  over  a  specific  face  of  type?  What  do  they 

see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eye-?  ^^^  j^  j^ ?  y^j^^  j^  ^^  ^^  superlatively  pleasant  to  their  eyes? 

Good  design  is  ahvays  practical  design.  And  what  thev  n      j  j    ■       ■      i  *       .■     i  j    ■         aju^^u 

°  ,  ,■'.'.  ,      .  "^        ,,  .    -  Good  design  is  alivavs  -practical  design.  And  what  they 

see  in  a  good  type  design  IS,  partly.  Its  excellent  practical  .  ,  ,   '.       .  ,      .  ,,  .     , 

r^        ,  r         •.  I    i»  u        iiu  U11      ju  1  '  sec  lu  a  good  tvpc  dcsigu  IS,  partly,  its  exccUent  practical 

fitness  to  perrorm  Its  work.  It  has  a  "hert    and  balance  in  r  b       it-       11  r 

all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has.  ^'""^  *«  perform  its  work.  It  has  a  "heft"  and  balance  in 

Your  good  chair  has  all  of  its  parts  made  nicely  to  the  all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has. 

right  size  to  do  exactly  the  work  that  the  chair  has  to  do,  Your  good  chair  has  all  of  its  parts  made  nicely  to  the 

neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no  right  size  to  do  exactly  the  work  that  the  chair  has  to  do, 

waste  of  material  and  no  lack  of  strength.  And,  beyond        tt        ■  77  1        ■  t 

f  ^,-,ijj)  no^v  IS  one  to  assess  and  evaluate  a  type  jace  in  terms  of 

How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  ''^  esthetic  design?  Why  do  the  face-makers  in  the  art  of 
its  esthetic  design?  Why  do  the  pace-maker     Jg  j  p  q  y       printing  rave  over  a  specific  face  of  type?  What  do  they 

(set  with  short  descenders,  on  eight  point  body)  (one  point  leaded) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ABCDEFGHIJKLMNOPORSTUVWXYZ& 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

1234567890  abcdefghijklmnopqrstuvwxyzfiflffffifil  ($£,.:;'-'?  !*tt§1f)  1234567890 

1234567890  abcdefghijklmnofqrstuvwxyzfiflffffiffl  ($£,.:;'-'?!   ti§1f)  ^^i-Zi^?*?" 

Matrix  Information:  9A82.  Lower  case  alphabet.  106  points.  Figures,  .0622;  comma,  period  and  thin  space,  .0311.  Runs  in  90  channel  magazine. 
Code  word.  IRFI. 


128 


Caslon  Old  Face  zvith  Italic 

<i{>oooooooooao<>oooooooooooooo<ioooooooooooooooooooooo 

TEN    POINfT 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHEl'IC  DES 
WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE 

How  IS  ONE  to  assess  and  c\'aluatc  a  t}'pe  face  in  terms  of  its  esthetic  design?  Wiiy  do  the  pace-makers  in  the  art 
of  printing  rave  over  a  specific  face  of  t}'pe?  What  do  they  see  in  itr  Why  is  it  so  superlativel\'  pleasant  to  their 
eyes?  Good  design  is  ahcays  practical  design.  And  what  they  see  in  a  good  t}pe  design  is,  parti}',  its  excellent 
practical  fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as  anv 
good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly  the  work  that  the 
chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of  material  and  no  lack  of  strength. 
And,  be\ond  that,  the  chair  may  have  been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and 
curves  and  proportions:  it  may  be,  actuall}',  a  work  of  art.  Tlte  same  thing  holds  for  shapes  of  letters.  And  your 
chair,  or  }'our  letter  (if  a  true  artist  made  it)  will  ha\c,  besides  its  good  looks,  a  suitabilit}'  to  the  wth  degree  to 
be  sat  in,  or  stamped  on  paper  and  read.  That  explains,  in  a  wa}',  wh}'  the  experts  rave  over  the  fine  shapes  of 
letters;  but  it  fails  to  explain  wherein  the  shapes  are  fine.  If  \'ou  seek  to  go  further  with  the  inquir}',  theories 
will  be  your  onh'  answer.  Here  is  a  theory  that  the  proponent  thinks  may  have  sense  in  it:  Fine  t\'pe  letters 
were,  in  the  first  place,  copies  of  fine  written  letters.  Fine  written  letters  were  fine  because  the\'  were  produced 
in  the  most  direct  and  simple  way  by  a  tool  in  the  hands  of  a  person  expert  in  its  use,  by  a  person,  moreover, 
who  was  an  artist  {i.e.,  a  person  equipped  to  make  sound  judgments  about  lines,  curves,  proportions,  etc.).  The 
artist  of  that  moment  Avhen  printing  was  invented  who  furnished  the  fine  written  patterns  for  type  was  (luckily 
for  printing)  working  at  the  top  notch  of  a  fine  tradition  of  calligraph}'.  He  was  making  sound  judgments  about 
lines  and  curves  and  proportions  of  letters.  He  had  resurrected  an  ancient  distinguished  st\le  of  writing  and 
had  added  to  it  the  qualit}'  of  his  own  fine  taste.  His  letters  flowed  from  his  pen  easil}'  and  simph',  without  any 
tricks  or  affectations  or  extraneous  embellishments.  He  was  simple  enough  and  artist  enough  to  let  the  imple- 

How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  How  is  one  to  assess  and  evaluate  a  t}pe  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in  the  of  its  esthetic  design?  Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  of  type?  What       ^rt  of  printing  rave  over  a  specific  face  of  type?  What 


do  they  see  in  it?  Why  is  it  so  superlatively  pleasant 
to  their  e}'es?  Good  design  is  alzvays  practical  design. 
And  what  they  see  in  a  good  type  design  is,  partly,  its 
excellent  practical  fitness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms 
of  its  estiietic  design?  Why  do  the  pace-     J  g  j  p  q  y 

(set  with  short  dcsccndci  s.  on  iiii:c  f>oiitt  hojyf 


do  they  see  in  it?  Wliy  is  it  so  superlatively  pleasant 
to  their  eyes?  Good  design  is  alzvays  practical  desigti. 
And  what  the}'  see  in  a  good  t}'pe  design  is,  partly,  its 
excellent  practical  fitness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right  for  its 

(uiu-  po\nt  l,;nl.'J  : 

The  same  thing  /told s  for  shapes  oj  letters,  .^iid  your 
i/iair,  or  your  letter  ( ij  a  true  artist  made  it)  zcill  haz'e,  be- 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  sides  its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat 
of  its  esthetic  design?  Why  do  the  pace-m    g  j  p  q  y       in,  or  stamped  on  paper  and  read.  That  explains,  in  a  zvay, 

(set  with  long  descenders,  an  ele'een  point  budyl  lOne-Lelter  Italic) 

ABCDEFGH I JKLMNOPQRSTU  VWXYZ  & 
ABCDEFGHIJKLMNOPQRSTUVWXYZijf 

ABCDEFGHIJKLMNOPQRSTUVWXYZA: 

1234567890  abcdefghijklmnopqrstuvwxyzfiflfffliffl  ($£,.:;'-'?  !*tj:§ll)  1234567890 
123-1 567 SQOabcdejghi'jklmnopqrsliivzc.xyzffjJffiffl  ($£,.:;'-'?!  \%l*\)  12S4567S90 

ONE-LETTER   ITALIC.  SPECIAL  HO,  5  SPECIAL  TWO-LETTER  SMALL  CAPS 

abedejgliijklmnopijrstuz'Zt.\xyz  ABCDEFGH  IJKLMNOPQRSTU\'\VXYZ& 

.ABCDEFGH  UKLMNOPORSTVVWXYZiS 


Matrix  Injornuttion-  lOA-SI).  Li.wcr  case  alphabet.  Ill  points.  Figures 
zine.  Code  wi.nl.  IRCO. 


]>erit.nJ  and  lliiii  --p; 


.llj-1').  Runs  in  90  cliannel  niaga- 


Caslon  Old  Face  with  Italic 


ELEVEN    POI  NT 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ES 
DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OV 
How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers 
in  the  art  of  printing  rave  over  a  specific  face  of  type  ?  What  do  they  see  in  it?  Why  is  it  so  superlatively 
pleasant  to  their  eyes?  Good  design  is  always  practical  design.  And  what  they  see  in  a  good  type  design 
is,  partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts 
just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right 
size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and  weak, 
no  waste  of  material  and  no  lack  of  strength.  And,  beyond  that,  the  chair  may  have  been  made  by  a 
man  who  worked  out  in  it  his  sense  of  fine  shapes  and  curves  and  proportions:  it  may  be,  actually,  a 
work  of  art.  The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  letter  (if  a  true  artist 
made  it)  will  have,  besides  its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped  on  paper 
and  read.  That  explains,  in  a  way,  why  the  experts  rave  over  the  fine  shapes  of  letters;  but  it  fails  to 
explain  wherein  the  shapes  are  fine.  If  you  seek  to  go  further  with  the  inquiry,  theories  will  be  your 
only  answer.  Here  is  a  theory  that  the  proponent  thinks  may  have  sense  in  it :  Fine  type  letters  were,  in 
the  first  place,  copies  of  fine  written  letters.  Fine  written  letters  were  fine  because  they  were  produced 
in  the  most  direct  and  simple  way  by  a  tool  in  the  hands  of  a  person  expert  in  its  use,  by  a  person,  more- 
over, who  was  an  artist  (i.e.,  a  person  equipped  to  make  sound  judgments  about  lines,  curves,  propor- 
tions, etc.).  The  artist  of  that  moment  when  printing  was  invented  who  furnished  the  fine  written 
patterns  for  type  was  (luckily  for  printing)  working  at  the  top  notch  of  a  fine  tradition  of  calligraphy. 
He  was  making  sound  judgments  about  lines  and  curves  and  proportions  of  letters.  He  had  resurrected 

ft'H'n  l^nint  leaded) 

How  IS  ONE  to  assess  and  evaluate  a  type  face  in  How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace-  terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific  makers  in  the  art  of  printing  rave  over  a  specific 
face  of  type ?  What  do  they  see  in  it  ?  Why  is  it  so  ^^^^  ^f  ^^,^^  ?  ^y^at  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes }  Good  design  ^^peHatively  pleasant  to  their  eyes  ?  Good  design 

is  aliunvs  'practical  design.  And  what  they  see  in  a  ■      ,  j.       r     ,  ,    ■         a    j      u  .  ^u 

,-'',..*,.  ,,        -^  1  w  anvays  tractical  design.  And  what  tney  see  in  a 

good  type  design  is,  partly,  its  excellent  practical  i  i     •       •  i      ■  n  ■    ^ 

•?  r  ■  1     T    1  (.(-C  !^^^i       J  ffood  type  desig;n  IS,  partly.  Its  excellent  practical 

fitness  to  perform  its  work.  It  has  a     heft    and  --  '^         /=        '  ^         ,     t    i  cti    r  » 

(solid)  fitness  to  perform  its  work.  It  has  a    heft    and 

How  is  one  to  assess  and  evaluate  a  type  face  in      balance  in  all  of  its  parts  just  right  for  its  size,  as 

terms  of  its  esthetic  design?  Why  do      Jgjpqy^.  ^        . 

(set  'vith  short  descenders,  on  ten  point  body)  H 01U  IS   OtlC  tO   aSSeSS  and  CValuatC  a  type  JaCC  in 

How  is  one  to  assess  and  evaluate  a  type  face  in  tern/s  of  its  esthetic  design^  Why  do  the  pace- 
terms  of  its  esthetic  design?  Why  do  t      g  j  p  q  y      makers  in  the  art  of  printing  rave  over  a  specific 

I  set  ivilh  long  desecndi^s,  on  tioclve  foint  body)  C""f  Po'i't  loaded) 

ABCDEFGHI TKLMNOPQRSTUVWXYZ  & 
ABCDEFGHI'JKLMNOPQRSTUVWXYZ^ 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

1234567890  abcdefghiiklmnopqrstuvwxyzfiflfTffiffl  ($£,.:;'-'?!  *tt§l[)  1234567890 
1234567890  abcdejghijklmnopqrstuvwxyxfifljfffiffl  ($£,.:;'-'?!    '\%%V  1234567890 

Matrix  Information:  11A76.  Lower  case  alphabet,  122  points.  Figures,  .0761;  comma,  period  and  thin  space.  .038.  Runs  in  90  channel  magazine. 
Code  word.  IRliU. 


130 


Caslon  Old  Face  zvith  Italic 


V.  1. 1",  V  K  N    AND    ON  V.  -  1 1  A  I.  I"    I'  O  I  N  T 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS 
ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRIN 

How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is 
it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  practical  design.  And  what 
they  see  in  a  good  type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has 
a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good 
chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has 
to  do,  neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of  material  and  no  lack  of 
strength.  And,  beyond  that,  the  chair  may  have  been  made  by  a  man  who  worked  out  in  it  his 
sense  of  fine  shapes  and  curves  and  proportions:  it  may  be,  actually,  a  work  of  art.  The  same 
thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  letter  (if  a  true  artist  made  it)  will 
have,  besides  its  good  looks,  a  suitability  to  the  ;/th  degree  to  be  sat  in,  or  stamped  on  paper  and 
read.  That  explains,  in  a  way,  why  the  experts  rave  over  the  fine  shapes  of  letters  j  but  it  fails 
to  explain  wherein  the  shapes  are  fine.  If  you  seek  to  go  further  with  the  inquiry,  theories  will 
be  your  only  answer.  Here  is  a  theory  that  the  proponent  thinks  may  have  sense  in  it:  Fine 
type  letters  were,  in  the  first  place,  copies  of  fine  written  letters.  Fine  written  letters  were  fine 
because  they  were  produced  in  the  most  direct  and  simple  way  by  a  tool  in  the  hands  of  a  person 
expert  in  its  use,  by  a  person,  moreover,  who  was  an  artist  {i.e.,  a  person  equipped  to  make 
sound  judgments  about  lines,  curves,  proportions,  etc.  The  artist  of  that  moment  when  print- 

tcast  vn  foiirlccH  foint  body  I 

How  IS  ONE  to  assess  and  evaluate  a  type  face  How  is  one  to  assess  and  evaluate  a  type  face 

in  terms  of  its  esthetic  design?  Why  do  the  in  terms  of  its  esthetic  design?  Why  do  the 

pace-makers  in  the  art  of  printing  rave  over  a  pace-makers  in  the  art  of  printing  rave  over  a 

specific  face  of  type?  What  do  they  see  in  it?  specific  face  of  type?  What  do  they  see  in  it? 

Why  is  it  so  superlatively  pleasant  to  their  ^z^y  is  it  so  superlatively  pleasant  to  their 

eyes?  Good  design  is  always  practical  desiin.  ^  n      i  i     ■       ■      i                  .•     i  i     ■ 

/    J      ,        ,        *"     .           ■     [            .    .     ^.  eyesr  Good  design  is  always  practical  desivn. 

And  what  they  see  in  a  good  type  design  is,  /    ,      ,        ,              .           "     ,            j    ■       • 

^,      ■             11     .           •     1   /  And  what  they  see  in  a  good  type  design  is, 

partly,  its  excellent  practical  fitness  to  per-  ,.           ^ ..              ^.     .   y            °       ' 

form  its  work.  It  has  a  "heft"  and  balance  in      P^^'^y.'  ^'^  '^'"^^^"^  P*"^^^''^^  ^^"^^^  ^^  P^'"" 

(iTv/ ../.  I'vAvc  p,.n:t  h,.jyi  H ozv  IS  One  to  assess  and  evaluate  a  type  face 

How  is  one  to  assess  and  evaluate  a  type  face  '"  terms  of  its  esthetic  design?  Why  do  the 
in  terms  of  its  esthetic  design?  Why    g  j  p  q  \'      pace-makers  in  the  art  of  printing  rave  over  a 

(set  -.villi  sh,Nt  JcM-riuicr^,  ,)ii  r/i'TTii  p,'iiit  body)  (cusl  ..»  Ilihlrri,  t"!"/  b.nlr) 

ABCDEFGHI JKLMNOPQRSTUVWXYZ  & 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&' 

ABCDEFGHI  J  KLMNOPQRSTUVWXYZ& 

1 234567890  abcdefghijklmnopqrstuvwxyzfiflffffiffl  ($£,.:  ;'-'.?!-^t1:§lI)  1234567890 
1 234567  S90  abcde{ghi]klmnopqrstuvwxy%fifijjfiff\  ($£,.:;'-'?!   jt^)  i2);4s6yS9o 

Matiix  lujiirmalhni  ■  1  !  ':■  A4.  Lower  case  alphabet,  ll.'i  points.  Figures.  .n7r,I  ;  ,-otiiiii.i.  period  and  tliin  space.  .O.i'^.  Runs  in  90  channel  in.iga/itie. 
11  point  ali.crnment.  Sniallest  slug  on  wliich  this  face  will  cast  is  \2  point.  Code  wonl.  ZlilL. 


131 


Caslon  Old  Face  zvith Italic 


TWELVE    POINT 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF 
ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  O 

How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  Its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  -practical  design. 
And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent  practical  fitness  to  perform 
its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good 
tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly  the 
work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste 
of  material  and  no  lack  of  strength.  And,  beyond  that,  the  chair  may  have  been  made  by  a 
man  who  worked  out  in  it  his  sense  of  fine  shapes  and  curves  and  proportions:  it  may  be, 
actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or  your 
letter  (if  a  true  artist  made  it)  will  have,  besides  its  good  looks,  a  suitability  to  the  nth. 
degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That  explains,  in  a  way,  why  the  experts 
rave  over  the  fine  shapes  of  letters  j  but  it  fails  to  explain  wherein  the  shapes  are  fine. 
If  you  seek  to  go  further  with  the  inquiry,  theories  will  be  your  only  answer.  Here  is  a 
theory  that  the  proponent  thinks  may  have  sense  in  it:  Fine  type  letters  were,  in  the  first 
place,  copies  of  fine  written  letters.  Fine  written  letters  were  fine  because  they  were  pro- 
duced in  the  most  direct  and  simple  way  by  a  tool  in  the  hands  of  a  person  expert  in  its  use, 
by  a  person,  moreover,  who  was  an  artist  (i.^.,  a  person  equipped  to  make  sound  judg- 
ments about  lines,  curves,  proportions,  etc.).  The  artist  of  that  moment  when  printing 
was  invented  who  furnished  the  fine  written  patterns  for  type  was  (luckily  for  printing) 

(tivo  point  haded) 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do     g  j  p  q  y 

(set  ivith  lo}ig  dcsc  ndcrs,  on  thirteen  point  body) 

The  same  thing  holds  j  or  shapes  oj  letters.  And  your  chair,  or  your  letter  (ij  a  true  artist  made 
it)  will  have,  besides  its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped  on  paper 
and  read.  That  explains,  in  a  way,  why  the  experts  rave  over  the  fine  shapes  oj  letters;  but  it  jails  to 
explain  wherein  the  shapes  are  jine.  Ij  you  seek  to  gojurther  zvith  the  inquiry,  theories  will  be  your 

(One-Letter  Italic) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ  & 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

1234567890  abcdefghijklmnopqrstuvwxyzfiflffffiffl($£,.:;'-'?!*tt§Jl)  1234567890 

1234567 890 abcdejghijklmnopqrstuvzvxyzjij^jjffiffl  ($£,.:;'-'?!   t|§j[)  12^45^7^90 

ONE-LETTER   ITALIC,  SPECIAL  NO    5  SPECIAL  TWO-LETTER  SMALL  CAPS 

abcdejghijklmnopqrstuvwxy-z  abcdefghijklmnopqrstuvwxyz& 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

Matrix  Injorwation  :  13A-36.  Lower  case  alphabet,  141  points.  Figures,  .083;  comma,  period  and  tliin  space.  .0415.  Runs  in  90  channel  maga- 
zine. Code  word.  IRIF. 


132 


Caslon  Old  Face  zvith  Italic 

FOURTEEN     POINT 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TER 
OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN 

How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type? 
What  do  they  see  in  it?  Wliy  is  it  so  superlatively  pleasant  to  their  eyes?  Good 
design  is  ahvays  practical  dcsig)}.  And  what  they  see  in  a  good  type  design  is, 
partly  its  excellent  practical  fitness  to  perform  its  work.  It  has  a  "lief  t"  and  bal- 
ance in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair 
has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly  the  work  that  the 
chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of 
material  and  no  lack  of  strength.  And,  beyond  that,  the  chair  may  have  been 
made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and  curves  and  pro- 
portions: it  may  be,  actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of 
letters.  And  your  chair,  or  your  letter  (if  a  true  artist  made  it)  will  have,  besides 
its  good  looks,  a  suitability  to  the  ;;th  degree  to  be  sat  in,  or  stamped  on  paper 
and  read.  That  explains,  in  a  way,  why  the  experts  rave  over  the  fine  shapes  of 
letters  j  but  it  fails  to  explain  wherein  the  shapes  are  fine.  If  you  seek  to  go  fur- 
ther with  the  inquiry,  theories  will  be  your  only  answer.  Here  is  a  theory  that 

How  is  one  to  assess  and  evaluate  a  type  How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic      g  j  p  q  y     face  in  terms  of  its  esthetic  d     g  j  P  q  y 

(set  'with  short  descenders^  on  thirteen  point  body)  i  set  icitlt  long  dcseenders.  vn  fifteen  point  budyi 

The  same  thing  holds  for  shapes  oj  letters.  And  your  chair.,  or  your  letter  (if  a  true 
artist  ))iade  it )  i.vill  have.,  besides  its  good  looks.,  a  suitability  to  the  nth  degree  to  be  sat  i/i., 
or  stamped  on  paper  and  read.  That  explains.,  in  a  way.,  ivhy  the  experts  rave  over  t/ie  fine 
shapes  of  letters ;  but  it  fails  to  explain  wherein  the  shapes  are  fine.  If  you  seek  to  go  fur- 


(Onc-Lcttcr  Italic) 


ABCDEFGHIJKLMNOPQRSTUVWXYZ&  ($£,.:;'-'?!  ^^t$§11) 
ABCDEFGHIJKLMNOPQRSTUV\VXYZ&  ($£,.: ;'-'?!   ^X^^) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

1234567890  abcdefghijklmnopqrstuvwxyzfiflffi^ffl  1234567890 
1234567890  abcdefghijkh?niopqrstuvwxyzfififfffiffl  1 2^4^6'jSgo 

OhJE-LETTER   ITALIC,  SPECIAL  NO,  5  SPECIAL  TWO-LETTER  SMALL  CAPS 

abcdejghijklmnopqrstuvwxyz         ABCDEFGHIJKLMNOPQRSTUVVVXYZ& 

ABCDEFGHlJKLMlXIOPQRSTUVWXYZi^ 

'Matrix  luU^rnmtiow:  14A132.  Lower  case  iilpliabet.  159  iinints.  Figures.  .0968:  cdnini.i.  periud  ami  lliiii  space,  .0484.  Runs  in  90  channel 
zine.  Cide  word.  iRJV. 


Caslon  Old  Face 

EIGHTEEN     POINT 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE 
IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PA 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic 
design?  Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a 
specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superla- 
tively pleasant  to  their  eyes?  Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent  prac- 
tical fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of 
its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair 
has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly  the  work 
that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and 
weak,  no  waste  of  material  and  no  lack  of  strength.  And,  beyond 
that,  the  chair  may  have  been  made  by  a  man  who  worked  out  in  it 
his  sense  of  fine  shapes  and  curves  and  proportions:  it  may  be,  actu- 
ally, a  work  of  art.  The  same  thing  holds  for  shapes  of  letters.  And 
your  chair,  or  your  letter  (if  a  true  artist  made  it)  will  have,  besides 
its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped 


( f7vo  point  leaded ) 


How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic 
design?  Why  do  the  pace-makers  in  the  art  of  printing  rav    Jg  j  p  qy 


(set  with  slioit  descenders,  on  sixteen  point  body^ 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyz 
1234567890  ($,.:;^-'?!flflfffIlfH)   1234567890 

Habcdefghijklmnopqrstuvwxyz&  how  is  one  to  assess  and  evaluH 

IS  Piiint  Small  Caps  (18A1C9).  Runs  in  lower  case,  center  or  cap  channels  of  90  channel  magazine. 

Matrix  Information:  1SA169.  Lower  case  alphabet.   185  points.  Figures,  .1107.  Runs  in  90  channel  magazine.  16  point  alignment.  Code  word, 
IROG. 


134 


Caslon  Old  Face 


TWIiNTY-ON  !•     POINT 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE 
ATYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in  the 
art  of  prmting  rave  over  a  specific  face  of  type?  What 
do  they  see  m  it?  Why  is  it  so  superlatively  pleasant 
to  their  eyes?  Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design  is,  partly,  its 
excellent  practical  fitness  to  perform  its  work.  It  has  a 
"heft''  and  balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good  chair  has  all  of 
its  parts  made  nicely  to  the  right  size  to  do  exactly  the 
work  that  the  chair  has  to  do,  neither  clumsy  and  thick, 
nor  "skinny''  and  weak,  no  waste  of  material  and  no 
lack  of  strength.  And,  beyond  that,  the  chair  may  have 
been  made  by  a  man  who  worked  out  in  it  his  sense  of 


(livn  point  leaded) 


How  is  one  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-ma   Jgj  pqy 


(set  ivitl:  short  dcscrrdrrs.  m,  ciglitrci}  f'inf  body'' 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyz 
1234567890  ($,.  :^'-'?!fiflffffiffl)  1 234567890 

Matrix  Information  :  21  A3.  I-ower  case  nlt)]iahct.  2.'10  pnints.  Figures.  .\3^^.  Runs  in  72  channel  maKa7ine;  alsd  Imver  case  in  cap  channels  of  90 
channel  niaga/ine  with  caps  .md  figures  in  ,i4  channel  auxiliary  inaKa/ine,  I-'^  p^int  aliLciunent.  Smallest  slug  cm  which  this  lace  will  cast  iS  30 
point.  Code  word,  IROX. 


135 


Caslon  Old  Face 

^f  *  -:;-  vr  w  -»  -If  *  ■«■  *  vr  ^  *  -;f  *  w  *  vr  *  *  *  *  -s-  ^  *  *  *  *  *  •«■  -K-  *  -s-  *  *  * 

TWENTY-FOUR    POINT 

HOW  IS  ONE  TO  ASSESS  AND  EVALU 
How  is  one  to  assess  and  evaluate  any  type  face  in 
terms  of  its  esthetic  design  ?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  type  ?  What  do  they  see  in  it  ?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  design 
is  always  practical  design.  And  what  they  see  in  a 
good  type  design  is,  partly,  its  excellent  practical 
fitness  to  perform  its  work.  It  has  a  "heft"  and  a 
balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its 


(four  point  /ended) 


How  is  one  to  assess  and  evaluate  any  type  face  in 
terms  of  its  esthetic  design?  Why  do  Jgjpqy 


(set  with  short  descenders,  on  t^vcnty-onc  point  body) 


ABCDEFGHIJKLMNOPQRSTUVWXY 

abcdefghijklmnopqrstuvwxyz 

1234567890  ($,.:;'-'?!fiflfiFffiffl)  1 234567890 

Habcdefghijklmnopqrstuvwxyz&  how  is  onH 

24  PuiDt  Small  Caps  (34A1J7).  Runs  in  cap  channels  of  90  channel  magazine. 

Matrix  Information:  24A1-7-  Lower  case  alphabet,  262  points.  Figures.  .166.  Runs  in  72  channel  magazine;  also  lower  case  in  cap  channels  of  90 
channel  magazine  with  caps  and  figures  in  34  channel  auxiliary  magazine.  22  point  alignment.  Smallest  slug  on  which  this  face  will  cast  is  23 
point.  Code  word,  IRTA. 


136 


Caslon  Old  Face 

I   II  I  RT  V     TO  INT 

HOW  IS  ONE  TO  ASSESS  AND  E 

How  is  one  to  assess  and  evaluate  any 
face  of  type  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face 
of  type?  What  do  they  see  in  it?  Why 
is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical 
design.  And  what  they  see  in  any  good 
design  of  type  is,  partly,  its  excellent 
practical  fitness  to  perform  its  work. 
It  has  an  1234567890  1234567890 


(four  point  leaded) 


ABCDEFGHIJKLMNOPQRSTU 

VWXYZ&($,.:;'-'?Ififlffffiffl) 
abcdef  gh  i  j  kl  m  nopqrstu  vwxyz 

Matrix  luiormation  :  30A1-^-  T-ower  case  alplmlict.  ^M  puints.  FiKUre'^,  .207^.  Kinis   in  Widp  72  tliniinel  iiia«;i/iiie  :  also  Idwct  case  in  rap  <liaii- 
riels  nf  72  cliannel   inaga/inc  \\'\\h  caps  and  figures  in  Wide  34  Lhaniiel  auxiliary  niana/int-    JS  puint  aliv;innenl.  <  nde  word.   WiV/.. 


137 


Caslon  Old  Face 

•  THIRTY-SIX    POINT 

How  can  one  assess  and  eval- 
uate a  type  face  in  terms  of  its 
esthetic  design  ?  Why  do  pace- 
makers in  the  printing  art  still 
rave  over  a  specific  type  face? 
What  do  they  see  in  it?  Why  is 
it  so  superlatively  pleasant  to 
the  eyes?  Good  design  is  ever 
practical  de  ($,.:;'-'? Ififlffffiffl) 


(t^'Tee  point  leaded) 


ABCDEFGHIJKLMNOPQ 
RSTUVWXYZ& 

abcdefghijklmnopqrstuvwx 
1234567890  1234567890 

Matrix  Injormaticm :  3(3A81.  Lower  case  alphabet.  428  points.  Figures.  .249.  Runs  in  Wide  34  channel  auxiliary  magazine;  also  lower  case  in  cap 
channels  of  Wide  72  channel  magazine  and  in  cap  channels  of  72  channel  magazine,  except  m  and  p.  34  point  alignment.  Code  word,  IRVE. 


138 


CASLON  OLD  FACE  A-P-L 

^f<]  H^hi  \yi^hi  H-^hi  \>i^hi  H^i<i  H-^^  h^h  H^Ki  oi^hi  H-^hi  H-:^ 

FORTY-TWO    POINT 

MJAIOI  -)   I.ourr  i.ise  alpli.ilipt .  47X  points.  C.jik-  w..r.J,  ZAMDA 

How  is  one  to  evaluate  and 
assess  type  faces  in  terms  of 
their  esthetic  design?  Why 
do  the  pace-makers  in  the 
art  of  printing  rave  over  a 
specific  face  of  type?  What 
do  they  see  in  it?  Why  tuv 
wxyzl234567890($,.:;'-'?!) 


(  ^1  r  point  leaded  ' 


ABCDEFGHIJKLM 
NOP0RSTUVWXYZ& 

abcdefghijklmnopqrs 


A//-P/frpo.\r  TJuiitxpr  iiitilrirrs  an'  dlso  available  in  i  1^,  24,  ^O  and  \()  point  sizes 

139 


A-P-L  CASLON  OLD  FACE 

-^fo  H^i<i  [>^f<J  t>i^f<]  [>i^^  H^i<i  [>i^f<]  ^^hi  D^^^  D^fo  [>i^f<i  H^ 

FORTY-EIGHT    POINT 

(48A1015)  Lower  case  alphabet,  551  points.  Code  word.  ZAMFE 

How  is  one  to  assess  and 
evaluate  a  type  face  in 
terms  of  its  esthetic  de- 
sign? Why  do  the  pace- 
makers in  printing  arts 
rave  o  abcdefghijklmn 
opqrstuvwxyz  ($,.:;'-'?!) 


(six  point  leaded) 


ABCDEFGHIJ 
KLMNOPORSTUV 

WXYZ&  12345 


140 


CASLON  OLD  FACE  A-P-L 

■^f<]  ^^hl  l>i^f<]  Oi^f<]  H^hi  Di^f<]  [>i^'f<]  Oir^f<]  (>i^f<]  H^fO  [>i^f<]  Di-^ 


SIXTY    POINT 

('1OAIOI51  Lower  ca^e  alphabet.  78X  points,  ('oile  word.  Z.\.M110 


How  is  one  to  as- 
sess or  evaluate 
type  faces  in  the 
terms  of  designs 
that  are  $67890 


(  six  point  U'adcd  > 


ABCDEFG 

HJKMNOPRS 

TUVWXY 


141 


A-P-L  CASLON  OLD  FACE 

^fO  [>i^f<l  Di-^fO  Di^Kl  \>i^i<l  H^i<i  H^i<3  Oi^fO  [>i^f<]  H-^hi  i>i^H  Di^ 

SEVENTY-TWO    POINT 

(72A1015)  Lower  case  alphabet,  948  points.  Code  word,  ZAMIF 

How  can  one 
evaluate  type 
faces  in  a  123 


(solid) 


-(,»»c  LINOTYPE""  0- 


EIGHTY-FOUR     POINT 

(S4A1015)  Lower  case  alphabet,  1206  points.  Code  word,  ZEVAP 

How  is  one 
to  assess  or 
evaluate  56 


(solid) 


142 


SPECIMENS 

showing 

Caslon  Old  Face 


Right:  Envelope  enclosure,  set  in  14  point  Caslon 
Old  Face.  4  point  leaded.  Di.'jplay  is  60  point  Cas- 
lon Old  Face.  A-P-L.  Decoration:  18  point  Border 
Matrix  No.  753. 

Below:  Book  catalog  page,  printed  by  tlie  Harbor 
Press.  New  York,  N.  Y,,  set  in  9  point  Caslon  Old 
Face. 

Lower  Right:  Book  plate,  set  in  24  point  A-P-L 
Caslon  Old  Face  Italic  and  18  point  Caslon  Old 
Face  Small  Caps.  Decoration:  18  point  Border  Ma- 
trix No.  748,  2  point  Matrix  Slide  No.  404;i,  and 
6  point  Matrix  Slide  No.  1520. 


GOSSE  (Sir  Ed.mund).  Father  and  Son. 
Frontispiece.    London,  1907.    Uncut. 

$4.5.00 
Interesting  study  of  modern  life.  Gosse's 
outstanding  contribtitio>i  to  jnoderii  psy- 
chological studies  in  literature. 

HEWLETT  (Maurice).  PENNELL  (Jo- 
seph). The  Road  in  Tuscany.  Illustra- 
tions by  Joseph  Pennell.  London,  1904. 
2  vols.  $2  5.00 

T/jis  cJiarming  <work  has  the  twofold  in- 
terest of  Hewlett  and  Pennell.  With  dust 
ivrapfers. 

HUDSON  (W.  H.).  Birds  and  Man.  Lon- 
don, 1901.  In  protecting  case.  $225.00 
A  Presentation  copv  in  original  biickratn 
inscribed  o>i  half  title  "To  ./.  II.'  IV in- 
gra-ve  with  best  wishes  for  1 904  from 
II'  H.  Hudson."  Hudson  issued  a  few 
copies  in  buckram  for  presentation  pur- 
poses. 


From  writings  of  Ralph  Waldo  Emerson 

human 
labor 


through  all  its  forms,  from  the  sharpening 
of  a  stake  to  the  construction  of  a  city  or 
an  epic,  is  one  immense  illustration  of 
the  perfect  compensation  of  the  universe. 
Everywhere  and  always  this  law  is  sub- 
lime. The  absolute  balance  of  Give  and 
Take,  the  doctrine  that  everything  has  its 
price;  and,  if  that  price  is  not  paid,  not 
that  thing  but  something  else  is  obtained, 
and  that  it  is  impossible  to  get  anything 
without  its  price;  this  doctrine  is  not  less 
sublime  in  the  columns  of  a  ledger  than  in 
;udgets  of  states,  in  the  laws  of  light 
idarkness,  in  all  the  action  and  reac- 
tion of  nature. 


Green   Mansions.   London,    1904.     In 

half-morocco  case.  $300.00 

Rare.  A  beautiful  copy  in  its  presenta- 
tion binding  of  buckram,  of  which  very 
few^  ivere  issued.    The  life  of  W.  H .  H :idson 


<4 

► 

Ex  Libris 

f'^:\ 

DONALD  MALCOLM 
MAC  TAVISH 

•4 

►      -^      -^      -^      '^      ^ 

► 

A-P-L  CASLON  O.  F.  ITALIC 


EIGHTEEN    POINT 

(18A1016)  Lower  case  alphabet.  182  points.  Code  word,  ZANUJ 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE 
FACE  IN  TERMS  OF  ESTHETIC  DESIGN?  WHY  D 

How  is  one  to  assess  and  evaluate  a  typeface  in  terms  of  its  esthetic  de- 
sign f  Why  do  the  pace-makers  in  theai't  of  printing  rave  over  a  specific 
face  of  type  ?  What  do  th  ey  see  in  it  f  Why  is  it  so  superlatively  pleasant 
to  their  eyesf  Good  design  is  always  practical  design.  And  what  they 
see  in  a  good  type  design  is,  partly,  its  excellent  practical  fitness  toper- 
form  its  work.  It  has  a  ''heft  ''and  balance  in  all  of  its  parts  just  right 
for  its  size,  as  any  good  tool  has.  Your  good  chair  has  its  paj'ts  made 
nicely  to  the  inght  size  to  do  exactly  the  woj^k  that  the  chair  has  to  do, 
neither  clumsy  and  thick,  nor  ""skinny  ''and  weak,  and  no  waste  of  ma- 
terial aiid  no  lack  of  stre?igth.  And  beyond  that,  the  chair  may  have 
been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and 
cu7^vesa?id proportions:  may  be,  actually,  a  work  of  art.  The  same  thing 
holds  for  the  shapes  of  letters.  And  your  chair,  or  your  letter  (if  a  true 
artist  made  it),  will  have,  besides  its  good  looks,  a  suitability  to  the  nth 
degree  to  be  sat  in,  or  stamped  oft  paper  and  read.  That  explains,  in  a 
way,  why  the  expet^ts  i-ave  over  the  fine  shapes  of  letters;  but  it  fails  to 
explai?i  wherei?!  the  shapes  a7xfi?te.  If  you  seek  to  go  fia^ther  with  the 
inquiry,  theo?ies  will  be  your  07ily  answer .  Here  is  a  theory  that  the  pi^o- 
ponent  thinks  may  have  sense  in  it:  Fine  type  letters  ^veix,  i?i  the  first 
place,  copies  of  fine  written  letters.  Fine  written  letters  were  fine  be- 

(two  point  leaded'' 

ABCDEFGHIIKLMNOPQRSTUVWXYZm 

a  bcdefgh  ijklmnopqrstuvwxyz  fiflfi'ffifitl 
'12345 ($,.:;  -  '^1%) 67890 


]44 


CASLON  O.  F.  ITALIC K-V-l. 


TWENTY-FOUR    POINT 

(J4AI'1I'.)  l-nwcr  case  alpliabi't,  .Ml  points.  Cfide  wc.nl.  ZANUP 

HOW  IS  ONE  TOASSESSAND  EVAL  U- 
ATE  A  TYPE  FACE  IN  TERMS  OF  ITS  E 
Hozv  is  one  to  assess  a?td  evaluate  a  type  face  in  terms 
of  its  esthetic  design  ^  Why  do  the  pace-makers  in  the 
art  of  printing  ra  ve  o  ver  a  specific  face  of  type  ?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to 
their  eyes  ?  A  good  design  is  alzvays  a  practical  design. 
Arid  zvhat  they  see  in  good  type  design  is^  partly^  its  ex- 
cellent  practical  fitness  to  perform  its  zvork.  It  has  a 
''heft  ''a?id  balance  in  all  of  its  parts  just  right  for  its 
size^  as  any  good  tool  has.  Your  good  chair  has  all  its 
parts  made  nicely  to  the  right  size  for  exactly  the  zvork 
that  the  chair  has  to  do^  neither  clumsy  and  thick ^  nor 
''skinny  ^^and  zveak^  and  no  zvaste  of  material  and  no 
lack  of  strength.  And  beyond  thaty  the  chair  may  have 


( joitr  point  leaded) 


ABCDEFGHIJKLMNOPQRSTUVWX  Y 

ahcdefghijklmnopqrstiivzvxyzfiflffffiffl 
12345 ($, . :;  -  '?!)  6  7890 


145 


A-P-L  CASLON  O.  F.  ITALIC 

THIRTY    POINT 

(30A1016)  Lower  case  alphabet,  ill  points.  Code  word.  ZANYA 

How  is  one  to  assess  and  evaluate  a  typeface 
in  terms  of  its  esthetic  design  ?  IVhy  do  pace- 
makers in  printing  arts  rave  over  a  specific 
face  of  type?  IVhatdo  they  see  in  it?  U^hy  is 
it  so  superlatively  pleasant  to  the  eyes?  Good 
design  is  ever  a  practical  design.  And  what 
they  see  in  good  type  design  is  ^  partly^  its  ex- 
cellent practical  fitness  to  perform  its  work. 
It  has  a  '  'heft '  'and  balance  in  all  of  its  parts 
just  right  for  its  size  ^  as  any  good  tool  has. 
Your  good  chair  has  all  its  parts  made  nicely 
to  the  right  size  to  ($, . :;  -  "?l)  1234567890 


(four  point  leaded) 


ABCDEFGHIJKLMNOPQRSTUF 

IVXYZ& 

abcdefghijklmnopqrstuvwxyzfiflffffiffl 


146 


CASLON  O.  F.  ITALIC K-V-l. 

THIRTY-SIX    POINT 

(.UjAHjK,)  I..iwcr  case  alphabft.  j79  points.  Code  wnrtl.  ZAKZE 

How  can  one  assess  and  evaluate  a 
typeface  in  terms  of  its  esthetic  de- 
sign f  ff^hy  do  thepace-maleers  in 
the  art  of  printing  rave  over  spe- 
cific faces  of  type  f  Pf^hat  do  they 
see  in  itf  Pf^hy  is  it  so  superlatively 
pleasant  to  their  eyes^ A  good  de- 
sign is  always  a  practical  design. 
And  what  they  see  in  good  designs 
fiflffffiffl  1234567890  (S, . :;  -  ?f) 


(fonr  /•.iniC  icadcj) 


AB  CDEFGHIJKLMNO 
PQRSTUFfFXYZ& 

abcdefghijklmnopqrstuvwxyz 


147 


A-P-L  CASLON  O.  F.  ITALIC 

^fO  I>i^f<]  I>i^f<l  [>i^i<]  [>i^f<]  [>i^f<]  [>i^i<]  I>i^f<]  I>i^f<]  [>i^f<]  [>i^^  Di^ 

FORTY-TWO    POINT 

(42A1016)  Lower  case  alphabet.  412  points.  Code  word.  ZAPAF 

How  is  one  to  assess  and  evalu- 
ate a  typeface  in  terms  of  its  es- 
thetic design  f  JVhy  do  the  pace 
makers  in  the  printing  art  rave 
0  ver  a  specific  typeface  ?  JVhat 
do  they  see  in  it?fVhy  is  it  so  su- 
perlatively pleasant  to  their  eft 


(six  point  leaded) 


ABCDEFGHUKLMNO 
PQRSTUVWXYZ^ 

kfghijklmnopqrstuvwxy 


148 


CASLON  O.  F.  ITALIC  A-P-L 

^fa  [>i^f<]  [>i-^f<]  [>i^f<]  iH'^fK]  Di-^fo  [>i^f<]  [>i^fa  [>i-^f<]  oi^fo  [>i-^f<]  [>^ 

FORTY- EIGHT    POINT 

(48A1016)  Lower  case  alphabet.  437  points.  Code  word.  ZAPAL 

How  can  one  assess  and  eval- 
uate a  typeface  in  terms  of  its 
esthetic  design?  IVhy  do  pace 
makers  in  the  art  of  printing 
rave  over  a  specific  type  face? 
What  abcdefghijklmnopqrst 


dour  foint  leaded) 


ABCDEFGHIJK 
LMNOPQRSTUVW 

'&1234567890 


149 


A-P-L  CASLON  O.  F.  ITALIC 

^f<]  [>i-^f<]  [>i^f<i  [>i-^f<i  [>i-^f<]  [>i-^f<]  [H-^fo  i>i^f<]  i>i^f<]  [>i-^f<]  [>i-^f<]  i>i^ 

SEVENTY-TWO    POINT 

("2A1016)  Lower  case  alphabet,  767  points.  Code  word.  ZEVED 

How  is  one  to  as- 
sess a  type  face  in 
terms  of  its  abed 
efghjkmnpqrstu 
vwxyz  C :  fififfl) 


(ttvo  point  leaded) 


ABCDFM 

S  TIVY&345 


150 


Caslon  Old  Face  Italic 

**************************  *  *  >»  *  ^(5  '^  *  ^^  *  'f^  *****  * 

l^  IC.  nil';  I'.  N     l>()  I  NT 

JJoic;  /J"  o^/t'  ^0  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-iJiakers  in  the  art  of  prifitifig  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to 
their  eyes?  Good  design  is  always  practical  design.  And  what  they  see  in 
a  good  type  desigfi  is,  partly,  its  excellejit  practical  fitness  to  perform  its 
work.  It  has  a  ^'heff  a7id  halaiice  ifi  all  of  its  parts  just  right  for  its  size, 
as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts  niade  nicely  to  the 

(tzvo  point  leaded)  Sliort  descenders,  to  caxf  on  sixteen  faint  body,  are  availoble. 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&> 

abcdefghijkhmiopqrstuvwxyz  ($,.:;^-?/  fi-flffffiffl) 

1234567890  12^4367890 

Matrix  Information:  18A171.  r.ower  case  ;ilphahet.  17'  pnini';.  Fif^ures.  .1107.  Runs  in  90  cliaTinel  inaRazine.  }G  point  allgiiniciit.  Smallest  sIuk 
on  which  this  face  will  cast  is  17  point.  Code  word.  IKWI. 


-(LINOTYPE     )- 


rWi;N  TY-ONI-     I'OINT 


How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its 
esthetic  design?  Why  do  the  pace-makers  in  the  art  of  print- 
ing rave  over  a  specific  face  of  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  de- 
sign is  always  practical  design.  And  what  they  see  in  a  good 
type  design  is^  partly^  its  excellent  practical  fitness  to  per- 
form its  work.  It  has  a  "heff\ind  balance  in  all  of  its  parts 

(three  foini  leaded  I  Short  dcseeuders,  to  cast  pii  eighteei:  point  body,  are  n-eailaHe. 

ABCDEFGHIJKLMNOPORSTUVWXYZ^ 

abcdcfghijkltnnopqrstuvwxyz  ($,.:;''-?! fiflffffiffl ) 
1234567890  1234567890 

Matrix  Information :  21A5.  Lower  case  alplialiet,  2\2  puinls,  FiKure*;.  .1.^.'^-^.  Runs  in  7_''  channel  inak-a/ine;  also  lower  case  in  cap  channels  of  90 
channel  maga/ine  with  caps  and  figures  in  .^4  diannel  au\iliary  ina«a/ine.  Is  p>unl  allLinnicnt.  SinalU-M  sUm  on  whith  tins  iaie  will  cast  is  20 
point.  Code  word,  IRXO. 


151 


Cation  Old  Face  Italic 

TWENTY-FOUR    POINT 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in  the 
printing  art  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant 
to  their  eyes?  Good  design  is  alzvays  practical  design. 
And  what  they  see  in  a  good  type  design  is^  partly^ 
its  excellent  practical  fitness  to  perform  its  zvork.  It 
has  a  'Iieff  and  balance  in  all  of  its  parts  just  right 
for  its  size^  as  any  good  tool  has.  Your  good  chair  has 
all  of  its  parts  made  nicely  to  the  right  size  to  do  ex- 
actly the  work  that  the  chair  has  to  do^  neither  clumsy 
and  thick^  nor  '' skinny  ' and  zveak^  no  zvaste  of  mate- 
rial and  no  lack  of  strength.  And^  beyond  that^  it  may 

(jutir  point  IcadcJl 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-mak  gjpqy 


(set  with  short  descenders,  on  tweut y-one  point  body) 


ABCDEFGHIJKLMNOPORSTUVWXYZ 

ahcdejghijklmnopqrstuvwx  yz(  $,.:;'-'  ?  -^fifljfffiffl  ) 

1234567890  1234567890 

Matrix  Information :  24A125.  Lower  case  alphabet,  235  points.  Figures.  .166.  Runs  in  72  channel  magazine ;  also  lower  case  in  cap  channels  of  90 
channel  magazine  with  caps  and  figures  in  34  channel  auxiliary  magazine.  22  point  alignment.  Smallest  slug  on  which  this  face  will  cast  is  23 
point.  Code  word.  IRYB. 


152 


^^.^■^■^•^■^^^•^•^')^-^H;^^4^H:^f=>4Ui;.<=^^ 


'Ai'^ 


/% 


tE'H-Jf -5f -K- -K- -5f -Jf -Jf- -Jf -Jf -Jf -Jf -J(- -5 


Linotype 

CASLON 


k"  -X-  -X-  -J?-  "J^  "Vr  '¥r  "^r  '¥r  -J(*  •?€•  -J^  -K*-ff  ^?tfi 


H. y 

*    -Sf    *    -X-    *    *     -K-    *    *     -:r    -;^     -:f  ((   S  C  A  S  L  O  N  $  \  ^^    ^     ::.     ^f.     ^     v.    ■!!■     ^     4;-    ^    4!. 


Ul" 


LIST   OF   CHARACTERS    IN   TWO-LETTER    FONTS 
WITH    ITALIC   AND   SMALL   CAPS 

ABCDEFGHIJKLMNOPQRSTUVWXYZ 
ABCDEFGHIJKLMNOPQRSTUVWXYZ 

ABCDEFGH I J  KLM  NOPQRSTU  VWXYZ 

12345      abcdefghijklmnopqrstuvwxyz      67890 

VBCDE       abcdefghijklmnopqrstuvwxyz       FGRTJ 

,.  :  ;?(!)*" ^(Ett)&£$.  ..  fiflffffifflsoe 

,.S  ;f  AIQO"-  — ^ffi/5  N^PL         .    ..^Y#WMKH 

12345      Z&:()flffiffl$aeoe      67890 
12345      u^ :(  )flffiffl$cEQ:      07890 


OLD    STYLE    FIGURES  LONG    DESCENDERS 

1234567890     gjpqy 
1234567890  gjpqy 

These  characters  may  be  substituted  for  those  regularly  furnished  with  a 
font,  if  so  ordered,  or  they  may  be  added  as  an  extra. 


ONE-LETTER    ITALIC    LOGOTYPES 

FA  PA  TA  FA  If  A  YA  Th  JFIi 

TWO-LETTER    LOGOTYPES 

E  E  Tr  T  Va  Ve  Vo  V  Wa  We  Wo  W  Ya  Ye  Yo  Y 
FP.TrT  Fa  Ve  FoK  JVa  We  Wo  W  Ya  Ye  Yo  Y 


154 


^^^^^^,,^^^^^(('%      C  AS  LON     #1^  v>  :>  v^  ,,,,*,,.,,,,.,, 


COMPARISON   OF  SIZES 


7  Point  (7A8J  r.owcr  case  alphabet.  04  points.  Figures,  .056 

HOW  IS  ONE  TO  ASSESS  AND  EXAFAATE  A  T^PE  FACE  IN'  TER.MS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of  printing  1234 
//0//'/5  OISE  to  assess  and  tvaliialc  u  type  fate  in  terms  ctj  its  esthetle  dest^^n?  Why  do  the  paie-niahet s  in  the  art  of  printin  vucu 

S  Point  (8A24)  Lower  rase  alphabet.  108  points.  Fisures.  .056 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN? 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  ?  Why  do  the  pace-makers  in  the  1234 
HOIV IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  dcsignf  Why  do  the  pace-makers  in  vbcd 

9  Point  (9A1S)  Lower  ra<;e  .-iIiilL-ibet.  114  points.  Fisures.  .r,r,22 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  desitjn?  Why  do  the  pace-makers  1234 
HOIV  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  desic/n'  If'liy  do  the  paee-inak  \'BCD 

10  Point  (lOAS)  Lower  case  alph.abet.  121  points.  Fi.aiires.  .070 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTH 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  ?  Why  do  the  pace-ma  1 234 
HOJllS  ONE  to  assess  and  evaluate  a  type  face  in  teriits  of  its  esthetic  design?  Why  do  the  pa  \'BCD 

11  PoiTit  (nA12)  Lower  case  alphabet.  141  points.  Figures.  .084 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  I 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  ?  Why  d  1 234 
HOJJ' IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  fTviiCD 

12  Point  (12A12)  Lower  eas,>  .ilphnl.et.  157  points.  Figures.  .0«4 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TER 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  ?  1  234 
HOJJIS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  desi  \'BCD 

14  Point   (14A.'!4)  Lower  lase  .ilph.ibet.   IS]  points.   Figures.  .OTftR 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  estheti  1234 
HOIJIS  ONE  to  assess  and  evaluate  a  type  fare  in  terms  of  its  es  \BCD 

,16  Point   (3(.A14;)  l.ouer  la^e  .ilph.ibrl.  411  pi.iin,,   Fimir.-s.    249 

HOW  IS  one  to  assess  and  ev  1 2 

15  Point  Italic  (ISA.IS^)  Lower  case  alphabet.  2,17  points.  Figure  1 .  .1  21- :  2  1 1  0.  ,1 -22 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE 

How  is  one  to  assess  and  evaluate  a  type  face  in  ter  12 

24  Point  Italic  (24Aj35)  I  ouer  ca^e  alphabet,  .ioo  points.  Fi«nre  1.  .liiO;  2  to  (i.  .;9,i7 

HOW  IS  ONE  TO  ASSESS  AND  EV 
How  is  one  to  assess  and  evaluate  atyl2 

30  Point  Italic   '  '0  '.2"i  Lower  case  alpliabet.  ,1S2  points    Fi--;iire  !,  ,221-1;  2  tii  n.  ..M') 

HOW  IS  one  to  assess  and  evl2 


155 


,M 


^ V' 

CASLON 


SEVEN  POINT 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO 
THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  0\"ER  A  SPECIFIC  FACE  OF  TYPE  ?  WHAT  DO  THE 
How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its 
esthetic  design  ?  Why  do  the  pace-makers  in  the  art  of  printing  esthetic  design?  Why  do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  type  ?  What  do  they  see  in  it  ?  Why  rave  over  a  specific  face  of  type  ?  What  do  they  see  in  it  ?  Why 
.s  It  so  superlatively  pleasant  to  their  eyes  ?  Good  dcs,g,,,s  al-  j^  j^  ^^  superlatively  pleasant  to  their  eyes  ?  Good  design  is  al- 
tiays  practical  desigti.  And  what  thev  see  in  a  good  type  design  /jaji,..!,  •  j»  i- 
is.  partly,  its  excellent  practical  fitness  to  perform  its  work.  It  "fy'  f''^'.'"'  ''"'f"-  And  what  they  see  m  a  good  type  design 
has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  '«.  Part'y.  its  excellent  practical  fitness  to  perform  its  work.  It 
as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size, 
nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made 
to  do,  neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no  nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has 
waste  of  material  and  no  lack  of  strength.  And,  beyond  that,  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no 
the  chair  may  have  been  made  by  a  man  who  worked  out  in  it  ^.^^^^  ^f  material  and  no  lack  of  strength.  And,  beyond  that, 
nis  sense  oi  nne  shapes  and  curves  and  proportions:  it  may  be,  ^,  ,  .  ,  ,  ,  ,  ,  i  i  »  •  •» 
„,*.,  11.  „  „  1  J-  *  Ti  .1  ■  I,  1  1  ^  u  i  1  .  the  chair  may  have  been  made  by  a  man  who  worked  out  in  it 
actually,  a  work  01  art.  i  he  same  thing  holds  for  shapes  of  let-  ,.  ,■/■,,,  ■  ■  l 
ters.  And  your  chair,  or  your  letter  (if  a  true  artist  made  it)  "'^  s<="se  of  fine  shapes  and  curves  and  proportions:  it  may  be, 
will  have,  besides  its  good  looks,  a  suitability  to  the  Hth  degree  actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of  let- 
to  be  sat  in,  or  stamped  on  paper  and  read.  That  explains,  in  a  ters.  And  your  chair,  or  your  letter  (if  a  true  artist  made  it) 
way,  why  the  experts  rave  over  the  fine  shapes  of  letters;  but  will  have,  besides  its  good  looks,  a  suitability  to  the  »th  degree 
(solid)  to  be  sat  in,  or  stamped  on  paper  and  read.  That  explains,  in  a 

,,        .  ^  J         1     »        I         /        •„  ..„ „  „f  :^c  vvay,  why  the  experts  rave  over  the  fine  shapes  of  letters;  but 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  ot  its  .    /•  "  ,.,.,,  n        ii  i   ^ 

esthetic  design?  Why  do  the  pace-makers  in  the  art     g  j  p  q  y  "t  fails  to  explain  wherein  the  shapes  are  fine.  It  you  seek  to  go 

(Set  with  short  descenders  an  six  point  body)  ! one  point  leaded) 

AHCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHUKLMNOPORSTUrJFXYZ& 

.^BCO£FGHIJKLMNOPQKSTUVWXYZ& 

abcdefghijklmnopqrstuvwxvzfiflfifffiffl  12'3-I567890  ($£,.:;'-'?  !*t$§11)  1234567S90 
ahcdefghi'iklmnopqrstuv'U.xyxfififfffiffl  1234567S90  ($£,.:;'-'?!    tJ§1l)  1234567800 

Matrix  Information :  7A8.  Lower  case  alphabet,  94  points.  Figures,  .056;  comma,  period  and  thin  space,  .028.  Runs  in  90  channel  magazine. 
Code  word,  IPAR. 


-C      LINOTYPE     > 


EIGHT  POINT 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN? 
WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  OF  TYP 

How  IS  ONE  to  assess  ancl  evaluate  a  type  face  in  terms  How  is  one  to  assess  and  evaluate  a  type  face  in  terms 

of  its  esthetic  design?  Why  do  the  pace-makers  in  the  of  its  esthetic  design?  Why  do  the  pace-makers  in  the 

art  of  printing  rave  over  a  specific  face  of  type  ?  What  art  of  printing  rave  over  a  specific  face  of  type  ?  What 

do  they  see  in  it?  Why  is  it  so  superlatively  pleasaru  to  j^  ^^ey  see  in  it?  Why  is  it  so  superlatively  pleasant  to 

their  eyes?    Good  design  is  alixays  practical  design.  .    .  ti    /-^      j    j     •        •       ;  ^       '<•     1    j     • 

,    J      i    ^  ,,  .  ■  ,        -^i     •       •  »i      V  their  eyes?   Good  design  is  aiivays  practical  design. 

And  what  they  see  in  a  good  type  design  is,  partly,  its  ,     ,      ,        ,  .      ^         ,  ■',     .       .  ,      . 

excellent  practical  fitness  to  perform  its  work.  It  has  a  ^""^  "'^'^t  they  see  in  a  good  type  design  is,  partly,  its 

"heft"  and  balance  in  all  of  its  parts  just  right  for  its  excellent  practical  fitness  to  perform  its  work.  It  has  a 

size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  "heft"  and  balance  in  all  of  its  parts  just  right  for  its 

parts  made  nicely  to  the  right  size  to  do  exactly  the  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its 

work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  parts  made  nicely  to  the   right  size  to  do  exactly  the 

nor  "skinny"  and  weak,  no  waste  of  material  and  no  ^ork  that  the  chair  has  to  do,  neither  clumsv  and  thick, 

lack  of  strength.  And,  beyond  that,  the  chair  may  have  „^j.  "skinny"  and  weak,  no  waste  of  material  and  no 

been  made  by  a  man  who  worked  out  in  it  his  sense  of  ,^^1.  ^f  strength.  And,  beyond  that,  the  chair  may  have 
fine  shapes  and  curves  and  proportions:  it  may  be,  ac-  (one  point  leaded) 

tually,  a  work  of  art.  The  same  thing  holds  for  shapes 

of  letters.  And  your  chair,  or  your  letter  (if  a  true  art-  How  is  one  to  assess  and  evaluate  a  type  face  in  terms 

ist  made  it)  will  have,  besides  its  good  looks,  a  suita-  of  its  esthetic  design?  Why  do  the  pace-mak     g  j  p  q  y 

(solid)  (Set  with  long  descenders  on  nine  point  body) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGH1JKLMN0P0RSTUVIVXYZ& 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
abcdefghijklmnopqrstuvwxyzfiflffffiffi  1234567890  ($£,.:;'-'?  mtP)  1234567890 
ahcdefghijklmnopqrstuv'wxyzfiflffffiffll234567S90  ($£,.:;'-'?.'  Ul^)  J234567S90 

Matrix  Information :  RA-4.  Lower  c;ise  alphabet.  108  points.  Figures,  .05(5;  comma,  period  and  thin  space.  .02S.  Runs  in  90  channel  magazine. 
Code  word.  IP.^Z. 


156 


I      CASLON     Q- 


NIx\E   POINT 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC 

How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in 
the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleas- 
ant to  their  eyes?  Good  design  is  ahuays  practical  design.  And  what  they  see  in  a  good  type  design  is,  partly, 
its  excellent  practical  fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for 
its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly 
the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of  material 
and  no  lack  of  strength.  And,  beyond  that,  the  chair  may  have  been  made  by  a  man  who  worked  out  in  it  his 
sense  of  fine  shapes  and  curves  and  proportions:  it  may  be,  actually,  a  work  of  art. The  same  thing  holds  for 
shapes  of  letters.  And  your  chair,  or  your  letter  (if  a  true  artist  made  it)  will  have,  besides  its  good  looks, 
a  suitability  to  the  wth  degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That  explains,  in  a  way,  why  the 
experts  rave  over  the  fine  shapes  of  letters ;  but  it  fails  to  explain  wherein  the  shapes  are  fine.  If  you  seek  to 
go  further  with  the  inquiry,  theories  will  be  your  only  answer.  Here  is  a  theory  that  the  proponent  thinks 
may  have  sense  in  it :  Fine  type  letters  were,  in  the  first  place,  copies  of  fine  written  letters.  Fine  written  let- 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUlJFXYZ'd' 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflffffiffl  1234567890  ($£,.:  ;'-'?!*t1:§1[)  1234567890 
abcdefghijklmnofqrstuvivxyzfifljffflffl  12J4567S90  ($£,.: /-'n  )  1234567890 

Matrix  Injin  imit  ii>ii  ■  9A1S.  Lower  case  alphabet.  114  points.  Figures.  .0622;  cnniina,  period  and  tliiil  sp;i(e.  .n."?Il.  Runs  in  90  t-hannel  inasa- 
zine.  Code  word.  I  PRE. 


C      LINOTYPE     ) 

TEN  POINT 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTH 
How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  Its  esthetic  design  ?  Why  do  the  pace-makers 
in  the  art  of  printing  rave  over  a  specific  face  of  type  ?  What  do  they  see  in  it  ?  Why  is  it  so  superlatively 
pleasant  to  their  eyes  ?  Good  design  is  always  practical  design.  And  what  they  see  in  a  good  type  design 
is,  partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts 
just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right 
size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and  weak, 
no  waste  of  material  and  no  lack  of  strength.  And,  beyond  that,  the  chair  may  have  been  made  by  a 
man  who  worked  out  in  it  his  sense  of  fine  shapes  and  curves  and  proportions:  it  may  be,  actually,  a 
work  of  art.  The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  letter  ( if  a  true  artist 

f  ttt'o  point  leaded ) 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  ?  Why  do  the  pace-makers 
in  the  art  of  printing  rave  over  a  specific  face  of  type  ?  What  do  they  sec  in  it  ?  Why  is  it  so  su     g  j  p  q  v 

(Si-t  with  louo  descenders  on  eie-een  piiiirt  hodyi 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHUKLMNOPORSTUVIVXYZI^ 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdcfghijklmnopqrstuvw.xvzfiflf^ffiffl  1234567890  ($£,.:  ;'-'?!*tt§^)  I2,U5<'7890 
abcdefghijklmnopqrstitznvxyzfiflffffifjl  12345678Q0  ($£,.::'-'?!  )  I234=i678gn 

Matrix  Informatinn  :  lOA-S.  Lower  case  alpliabct,  121  points.  Kiiiures.  .070:  comma,  period  and  tliin  space.  .0,1'.  Runs  ii\  "0  ihatmel  masazinc. 
Code  w(.rd,  irCI. 


157 


-X-  -Jr  *  -;f  *  *  -X-  -iv  ((  S'      C  A  S  L  O  N       S  ))  ******  * 


ELEVEN  POINT 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  I 
ESTHETIC  DESIGN  ?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PR 

How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do 
the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they 
see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  prac- 
tical design.  And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent  practical 
fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for 
its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the 
right  size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor 
"skinny"  and  weak,  no  waste  of  material  and  no  lack  of  strength.  And,  beyond  that,  the 
chair  may  have  been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and 
curves  and  proportions:  it  may  be,  actually,  a  work  of  art.  The  same  thing  holds  for 
shapes  of  letters.  And  your  chair,  or  your  letter  (if  a  true  artist  made  it)  will  have,  be- 
sides its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped  on  paper  and 
read.  That  explains,  in  a  way,  why  the  experts  rave  over  the  fine  shapes  of  letters ;  but  it 
fails  to  explain  wherein  the  shapes  are  fine.  If  you  seek  to  go  further  with  the  inquiry, 
theories  will  be  your  only  answer.  Here  is  a  theory  that  the  proponent  thinks  may  have 
sense  in  it :  Fine  type  letters  were,  in  the  first  place,  copies  of  fine  written  letters.  Fine 
written  letters  were  fine  because  they  were  produced  in  the  most  direct  and  simple  way 
by  a  tool  in  the  hands  of  a  person  expert  in  its  use,  by  a  person,  moreover,  who  was 
an  artist,  i.e.,  a  person  equipped  to  make  sound  judgments  about  lines,  curves,  propor- 
tions, etc.  The  artist  of  that  moment  when  printing  was  invented  who  furnished  the  fine 
written  patterns  for  type  was  (luckily  for  printing)  working  at  the  top  notch  of  a  fine 
tradition  of  calligraphy.  He  was  making  sound  judgments  about  lines  and  curves  and 
proportions  of  letters.  He  had  resurrected  an  ancient  distinguished  style  of  writing  and 
had  added  to  it  the  quality  of  his  own  fine  taste.  His  letters  flowed  from  his  pen  easily 
and  simply,  without  any  tricks  or  affectations  or  extraneous  embellishments.  He  was 
simple  enough  and  artist  enough  to  let  the  implement  itself  (and  his  facile  hand)  shape 
the  product.  The  fine  qualities  of  this  artist's  letter-forms  were  carried  over  into  the 
metal  types  and  sealed  up  there,  like  butterflies  in  amber.  It  is  argued,  however,  that  the 

(tzvu  paint  leaded) 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do 
the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type  ?  Wha      g  j  P  q  y 

(Set  with  lung  descenders  on  t-:veive  point  body) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVJFXYZ^ 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflfffliffl  1234567890  ($£,.:;'-'?  !*t|§1f)  1234567890 
abcdcfghiiklmnopqrstiivivxyzfifijfffiffll234567S90  ($£,.:;'-'?/  tjp)  1234^67890 

Matfix  Injur uuition  :  UAl^.  Lower  case  alphabet,  141  points.  Figures,  .084;  comma,  period  and  thin  space,  .042.  Runs  in  90  channel  magazine. 
Code  word,  IPDO. 


158 


%      CASLON     C 


TWELVE  POINT 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TER 
OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  T 

How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  ?  Why 
do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  desicjn  is 
always  practical  design.  And  what  they  see  in  a  good  type  design  is,  partly,  its  ex- 
cellent practical  fitness  to  perform  its  work.  It  has  a  "heft''  and  balance  in  all  of 
its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do, 
neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of  material  and  no 
lack  of  strength.  And,  beyond  that,  the  chair  may  have  been  made  by  a  man  wdio 
worked  out  in  it  his  sense  of  fine  shapes  and  curves  and  proportions :  it  may  be, 
actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of  letters.  And  your 
chair,  or  your  letter  (if  a  true  artist  made  it)  will  have,  besides  its  good  looks,  a 
suitability  to  the  «th  degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That  ex- 
plains, in  a  way,  why  the  experts  rave  over  the  fine  shapes  of  letters ;  but  it  fails  to 
explain  wherein  the  shapes  are  fine.  If  you  seek  to  go  further  with  the  inquiry, 
theories  will  be  your  only  answer.  Here  is  a  theory  that  the  proponent  thinks  may 
have  sense  in  it :  Fine  type  letters  were,  in  the  first  place,  copies  of  fine  written  let- 
ters. Fine  written  letters  were  fine  because  they  were  produced  in  the  most  direct 
and  simple  way  by  a  tool  in  the  hands  of  a  person  expert  in  its  use,  by  a  person, 
moreover,  who  was  an  artist,  i.e.,  a  person  equipped  to  make  sound  judgments 
about  lines,  curves,  proportions,  etc.  The  artist  of  that  moment  when  printing 
was  invented  who  furnished  the  fine  written  patterns  for  type  was  (luckily  for 
printing)  working  at  the  top  notch  of  a  fine  tradition  of  calligraphy.  He  was 
making  sound  judgments  about  lines  and  curves  and  proportions  of  letters.  He 
had  resurrected  an  ancient  distinguished  style  of  writing  and  had  added  to  it  the 
quality  of  his  own  fine  taste.  His  letters  flowed  from  his  pen  easily  and  simply, 

(ficv)  foint  U-adrd) 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  ty     g  j  pqy 

iSi-t  -villi  loni,  Ji-sc-ndcis  ,'n  thutcfn  p.nni  (n J.v  ' 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
JBCDEFGHIJKLMNOPORSTUrirXYZ& 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflfTfffiffl  123456789  ($£,.:  ;'-'?!*tt^*:)  1234^6789 
abcdefghijklmnopqrstuvwxyzfiflifffiffl  123450789  ($£,.:;'-'?!  \\^*:')  IZ^lSblSg 

Matrix  Iiiforiiwtion  :  1_'AI2.  Lower  case  alphabet,  157  points.  Figures.  .OM;  coniiiia.  period  and  thin  space,  .0-1.'.  Runs  in  90  channel  magazine, 
("ode  word,  IPEB. 


159 


^Q      CASLON      Q 


->^  *  *  -sf  -x-  4J  *  «  *  *  *  vr  ((  ^      C  A  b  L(  U  JN       *  ))  *  %  vr  *  4f  v^  ^  i-:-  *  *  %  * 


FOURTEEN  POINT 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE 

How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  spe- 
cific face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively 
pleasant  to  their  eyes?  Good  design  is  always  practical  design.  And 
what  they  see  in  a  good  type  design  is,  partly,  its  excellent  practical  fit- 
ness to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts 
just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair 
has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste 


(t-j.'o  point  leaded) 


How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the  art  of  printing  rave  ov  g  j  p  qy 


(Set  kHIi  long  descenders  on  fifteen  foint  body) 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ^ 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflffffiffll2345  ($£,.:;'-'?  !*tt§11)  12345 

abcdefghijklmnopqrstuvwxyzfiflffffijjl  12345 ($£,. :;'-?!  Yx\V  12345 

Matrix  Information  :  14A34.  Lower  case  alphabet,  181  points.  Figures,  .0968;  comma,  period  and  thin  space,  .0484.  Runs  in  90  channel  magazine. 
Code  word,  IPFU. 


-<     LINOTYPE""  > 


THIRTY-SIX  POINT 


How  is  one  to  assess  abcdefgh 
ijklmnopqrstuvwxyz  ($,.:;'-?!) 

ABCDEFGHIJKLMNOP 
QRSTUVWXYZ&  1234567  8 

Matrix  Information  :  36A147.  Lower  case  alphabet,  411  points.  Figures,  .249.  Runs  in  Wide  72  channel  magazine:  also  lower  case,  except  m 
and  p.  in  cap  channels  of  72  channel  magazine  with  caps  and  figures  in  Wide  34  channel  auxiliary  magazine.  Code  word.  ZEPQB. 


160 


%i V 


--0      CASLON      O* 


EIGIITEEN   POINT 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in  the 
printing  art  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasan  ah 
cdefghijklmnopqrstuvwxyz  ($,.::'-?!)  1234567890 

(tzvo  foint  h-adi-d) 

Matri.r  hifoniiation  -  lSA38x  Lower  case  alphabet.  2^7  points.  Fitjure  1,  .1-4':  2  to  0.  .]=;J2.  Runs  in  7^  Lliaiitiol  ina'^a/ine;  also  Inwer  case  in 
cap  channels  uf  90  channel  magazine  with  caps  and  figures  in  .^-1  channel  auxiliary  nia;:;azine.  Code  word.  ZEPTE. 


-(LINOTYPE    > 


TWEXTY-FOUR  POINT 


How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing 
abcdefghijklmnopqrstuvwxyz  ($,.:;'-?!) 

Matrix  Iiitorvuitioit  T-tA^JS.  Lower  else  alphabet,  ^0'^l  points.  FiRure  1.  .IW:  2  to  0.  .n.ir  Uuus  in  Wide  72  channel  niaKazine:  also  lower  case, 
except  ni  and  w.  in  cap  channels  of  90  chaimel  inaKa/ine  with  caps  and  ti^Lires  in  Wide  .^-1  ch.inncl  an\i!iar,v  uiaga/ine.  Code  word.  ZMi'L'C. 


-<>    LINOTYPE     > 


THIRTY  POINT 


How  can  one  assess  and  evaluate 
a  type  face  in  terms  of  its  ahcdefg 
hijklmnopqrstuvwxyz  ($,.:;'-?!) 

(solid) 

ABCDEFGHIJKLMNO 
PORSTUVWXYZ&  123456 

matrix  Information  :  30A255.  Lower  case  alphabet,  .^.'ij  points.  Fii;nre  1 .  .^Jl.'i :  2  to  n,  .240.  Runs  in  Wide  72  channel  maKa/ino:  also  lower  case, 
cxiept  ni.  Ill  cap  channels  ol  "_'  channel  inaKa/inc  with  caps  .in,l  n^urcs  in  Wide  .i  1  channel  anxiliar)'  niaiia/ine.  Smallest  slug  on  which  this  lace 
will  cast  is  29  paint.  Code  w.ird.  ZEPUJ. 


161 


SPECIMENS   OF 


CASLON 


Right:  Book  page,  set  in  U  point  Caslon,  2  point 
leaded.  Title.  3G  point  Caslon  Old  Face  Italic. 
A-P-L;  chapter  number,  14  point  Caslon  small 
caps;  initial.  36  point  Caslon  Old  Face.  Decora- 
tion: 18  point  Border  Matrix  751L  and  751R.  Ma- 
trix Slide  2  point  404. 

BcJow:  Envelope  stuffer,  set  in  12  point  Caslon, 
2  point  leaded.  Display  is  18  point  Caslon  No.  3, 
Decoration:  6  point  Matrix  Slide  1314a  and  1314b. 

Lower  right:  Card,  set  In  10  point  Caslon  and  10 
point  Caslon  Italic.  Decoration:  6  point  Universal 
Astronomical  Sign,  O.L.,  Character  No.  44  and  2 
point  Matrix  Slides  403  and  404^. 


^^^^^^^^^ 


Printing  in  America 


THE  ART 
OF  ALL  ARTS 


'>&*. 


'^^fi-'^^^^'^^^^^^'^^^^^'^'^ii^^i^'^^j'fi' 


f^f^^*^ 


After  the  prime  necessities  of  life  nothing 
is  more  precious  to  us  than  BOOKS.  The  art 
of  typography,  their  creator,  renders  a  sig- 
nal service  to  society  and  lends  it  valuable 
support,  serving,  as  it  does,  to  educate  the 
citizen,  to  widen  the  field  for  the  progress 
of  sciences  and  arts,  to  nourish  and  culti- 
vate the  mind,  to  elevate  the  soul,  and,  gen- 
erally, taking  upon  itself  to  be  the  messen- 
ger and  interpreter  of  wisdom  and  truth. 
It  is,  in  fine,  portrayer  of  mind.  Therefore 
we  may  call  it  essentially  the  art  of  all  arts 
and  the  science  of  all  sciences. 

FOURXIER-"ON  TYPEFOUXDING" 


CHAPTER  VII 


S^^^^  HE  FIRST  ISSUE  from  the  first  press  in 
British  America  is  said  to  have  been 


T^^  "The  Freeman's  Oath,"  which  was 
^^  printed   on   a   small   half-sheet.   No 


f^  copy  of  this  has  come  down  to  us,  nor 
^^^«^^^^  have  we  any  copy  of  the  second  issue 
of  this  press,  which  is  supposed  to  have  been  'An  Al- 
manac for  the  year  1639,  m^de  for  New  England  by 
Mr.  William  Peirce,  Mariner."  This  volume,  so  far 
as  we  know,  was  the  first  book  printed  in  the  English 
Colonies.  "The  Bay  Psalm  Book,"  printed  in  1640, 
which  is  the  earliest  example  of  Colonial  book-print- 
]h  we  possess,  shows  poor  punctuation  and 
typographical  errors;  the  presswork,  how- 
xcellent,  which  would  seem  to  Indicate  that 
Day— at  that  time  proprietor  of  the  press  — 
sman  rather  than  an  all-round  printer.  The 
an  octavo  and  contains  147  leaves  without 
nly  ten  copies  are  known  to  be  in  existence, 
Hectors  have  recorded  four  only  as  perfect, 
e  year  1668  the  equipment  brought  to  this 
Stephen  Day  became  so  worn  that  Samuel 


5< 


156 


y\{;iy'j;y's};'j;it''j;"jJ'j;^'ii;'jJU/wy/WW'ywwww 


THE  TRIDENT  GRILL 

69  DUNE  ROAD,  AMAGANSETT 


1^  _f^_  ^-  A,  .*-  ^^  _^_  ^  fK  /f>  ^  i'f>  ;1^.  f^  -^  /fi  ^  /f\  /f\  (f\  rfi  fh  rfi  /f\ 


Aitiagansett  2i^S     '     Specializing  in  Shore  Dinners 


"^^x 


^fe 


Linotype 

CASLON 

No.  2 


More  than  200  years  ago,  William  Caslon 
cut  the  famous  founts  which  bear  his  name. 
Linot}'pe  Caslon  Old  Face  is  a  faithful 
replica  of  those  original  tvpes  — faithful  in 
weight,  curves,  shapes  and  all  details. 
Among  the  manv  refinements  of  the  origi- 
nal Caslon  t^'pe  is  Linot\'pe  Caslon  No  2. 
It  is  practically  identical  with  the  original 
in  color,  though  the  face  is  larger  on  the 
body.  The  capitals  as  well  as  the  lower  case 
letters  have  been  smoothed  somewhat,  de- 
scenders are  not  so  long.  Five  sizes  are 
available:  6,  8,  10,  11,  and  12  point,  each 
displayed  on  the  following  fi\'e  pages. 


F"' 


C-   LINOTYPE     ) 


'•A 


'"Hf"' 


V 

^    CASLONNo.  2     f ))  *  ^  *  *  *  ^  ^^  ..  *  *  ^ 


COMPARISON    OF    SIZES 


6  Point  (6A202)  Lower  case  alphabet.  83  points.  Figures,  .0484 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKE 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  Its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  It  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  practical  design.  And  what  12j4 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Jl'hy  do  the  pace-makers  in  the  art  of  pnntine  rave  over  a  vbcd 

8  roint  (SA298)  Lower  case  alphabet.  102  points.  Figures,  .0553 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN.?  WHY  D 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design.'  Why  do  the  pace-makers  in  the  art  of  print- 
ing rave  over  a  specific  face  of  type.''  What  do  they  see  in  it.''  Why  is  it  so  superlatively  pleasant  to  their  eyes.'  Good  1234 
HOJF IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  face-makers  in  the  art  vbcd 

10  Point  (10A260)  Lower  case  alphabet,  127  points.  Figures,  .0692 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHET 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  vbcd 

11  Point  (11A112)  Lower  case  alphabet.  139  points.  Figures,  .0761 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type  ?  What  do  they  se  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  W  vbcd 

12  Point  (12A74)  Lower  case  alphahef.  151  points.  Fipcures.  .083 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  Wh  1234 
HOJf  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  desi  vbcd 


LIST   OF   CHARACTERS    IN   TWO-LETTER    FONTS 
WITH    ITALIC   AND   SMALL   CAPS 

ABCDEFGHIJKLMNOPQRSTUVWXYZ 
ABCDEFGHIJKLMNOPQRSTUVWXYZ 

ABCDEFGHIJKLMNOPQRSTUVWXYZ 

12345       abcdefghijkLnnopqrstuvwxyz       67890 
VBCDE       abcdefghijklmtiopqrstuvtuxyz       fgrtj 

.:;?!(|)*"-  — ^aft&£?;.  ..  fiflffffifflsoe 

.  s  ; .''  /  A I  Q  o  '  ' .E  QL  tb  K  £ -p  V       .  .  .  fi  y  ff  w  mku 

12345       Z&  :()flffiffl$2ece       67890 
12345       v^  :( )flffifjl$cece      67890 


OLD    STYLE    FIGURES  LONG    DESCENDERS 

1234567890  gjpqy 

1234567890  gjpqy 

These  characters  may  be  substituted  for  those  regularly  furnished  with  a 
font,  if  so  ordered,  or  they  may  be  added  as  an  e.xtra 

ONE-LETTER    ITALIC    LOGOTYPES 

FJ  PA  TA  VA  WA  YA  Va  Ve  Vo  Wa  We  Wo  Ya  Ye  Yo 


164 


CASLON  No.  2 


>^ 


SIX    POINT 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKE 
IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  OF  TYPE;  WHAT  DO  THEY  SEE  IN  IT?  WHY  IS  IT  SO  SUPERLA 


How  IS  ONE  10  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic 
design?  Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a 
specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superla- 
tively pleasant  to  their  eyes?  Good  dfiif;n  is  akvays  practical  design. 
And  what  they  see  in  a  good  type  design  is,  parll\',  its  excellent  prac- 
tical fitness  to  perform  its  work.  It  has  a  "heft'"  and  balance  in  all  of 
its  parts  just  rigin  for  its  size,  as  any  good  tool  has.  Your  good  cliair 
has  all  of  its  parts  made  nicely  to  the  right  si/e  to  do  exactly  the 
work  that  the  chair  has  to  do.  neither  clumsy  and  thick,  nor  "skinny  " 
and  weak,  no  waste  of  material  and  no  lack  of  strength.  And,  beyond 
that,  the  chair  may  have  been  made  by  a  man  who  worked  out  in  it 
his  sense  of  fine  shapes  and  curves  and  proportions:  it  may  be,  actu- 
ally, a  work  of  art.  The  same  thing  holds  for  shapes  of  letters.  And 
your  chair,  or  your  letter  (i(  a  true  artist  made  it)  will  have,  besides 
its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat  In.  or  stamped 
on  paper  and  read.  That  explains,  in  a  way.  why  the  experts  rave 
over  the  fine  shapes  of  letters;  but  it  fails  to  explain  wherein  the 
shapes  are  fine.  If  you  seek  to  go  further  with  the  inquiry,  theories 
will  be  your  only  answer.  Here  is  a  theory  that  the  proponent  thinks 
may  have  sense  in  it  :  Fine  type  letters  were,  in  the  first  place,  copies 
of  fine  written  letters.  Fine  written  letters  were  fine  because  they  were 

Hoio  h  one  to  assess  and  evaluate  a  type  lace  in  terms  nf  its  esthetic 

design?   Why  do  the  pace-makers  in  the  art  of  printint!,  rave  over  a 

specific  face  of  type?   What  do  they  see  in  it?   Why  is  it  so  snpcrla- 

( solid) 


How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic 
design?  Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a 
specific  face  of  type?  What  do  they  see  in  it?  Why  is  It  so  superla- 
tively pleasant  to  their  eyes?  Good  design  is  akvays  practical  design. 
And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent  prac- 
tical fitness  to  perform  its  work.  Ii  has  a  "heft"  and  balance  in  all  of 
its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair 
has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly  the 
work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny" 
and  weak,  no  waste  of  material  and  no  lack  of  strength.  And,  beyond 
that,  the  chair  may  have  been  made  by  a  man  who  worked  out  in  it 
his  sense  of  fine  shapes  and  cur\cs  and  proportions:  it  may  be,  actu- 
ally, a  work  of  art.  The  same  thing  holds  for  shapes  of  letters.  And 
your  chair,  or  your  letter  (if  a  true  artist  made  it)  will  have,  besides 
its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped 
on  paper  and  read.  That  explains,  in  a  way,  why  the  experts  rave 
over  the  fine  shapes  of  letters:    but  it  fails  to  explain  wherein   the 

(one  point  leaded) 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic 

design?   Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a 

specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so     g  j  p  H  v 

(Set  zvilli  long  descenders  on  se-'en  point  body) 


Matrix  Information :  6A-n2 
Code  word,  I  POD. 


ABCDEFGHIIKLMNOPQRSTUVWXYZ& 
.IBCDEFGHlJKLMiXOrQRSTUIWXYZ'd 

ABCDEFCHIJKLMNOPQRSTUVWXVZSi 

abcdefghijklmnopqrstuvwxvzfiflffffiffl  1214567890  (i!£,. ::'-"?  !*tt§11)  i2U=;678qo 
ahcdefahijklmnopqrstuvuwyzfitlflfliffl  12U5b7S90  ($1..:^-'?!   tt§!!;  i^345(>7'^90 

Lower  case  alphabet.  f^J  points.  Figures.  .04.S-4;  cunnna,  period  and  iliin  sp.Ke.  .0277. 


aiinel  inaga/ine. 


vv  (LINOTYPE     ) 


EIGHT    POINT 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  D 
THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  0\  ER  A  SPECIFIC  FACE  OF  TYPE.?  WHAT  DO 


How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of 
its  esthetic  design.?  Why  do  the  pace-makers  in  the  art  of 
printing  rave  over  a  specific  face  of  type.?  What  do  they  see 
in  it.?  Why  is  it  so  superlatively  pleasant  to  their  eyes.? 
Good  design  is  always  practical  design.  And  what  they  see 
in  a  good  type  design  is,  partly,  its  excellent  practical  fit- 
ness to  perform  its  work.  It  has  a  "heft" and  balance  in  all 
of  its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your 
good  chair  has  all  of  its  parts  made  nicely  to  the  right  size 
to  do  exactly  the  work  that  the  chair  has  to  do.  neither 
clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of  ma- 
terial and  no  lack  of  strength.  And.  beyond  that,  the  chair 
may  have  been  made  by  a  man  who  worked  out  in  it  his 
sense  of  fine  shapes  and  curves  and  proportions:  it  may  be, 
actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of 

Ho:v  is  one  to  assess  and  evaluate  a  type  face  in  terms  of 

its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of 

printing  rave  over  a  specific  jace  oj  type?  What  do  they  see 

(solid) 


How  IS  oxn  to  assess  and  c\aluate  a  type  face  in  terms  of 
its  esthetic  design:  Why  do  the  pace-makers  in  the  art  of 
printing  rave  over  a  specific  face  of  type.?  What  do  they  see 
in  it.?  Why  is  it  so  superlatively  pleasant  to  their  eyes.? 
Good  design  is  akvays  practical  design.  And  what  they  see 
in  a  good  type  design  is,  partly,  its  excellent  practical  fit- 
ness to  perform  its  work.  It  has  a  "heft" and  balance  in  all 
of  its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your 
good  chair  has  all  of  its  parts  made  nicely  to  the  right  size 
to  do  exactly  the  work  that  the  chair  has  to  do,  neither 
clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of  ma- 
terial and  no  lack  of  strength.  y\nd.  beyond  that,  the  chair 

(  one  point  leaded ) 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of 
its  c-thctic  design.'  \Miy  do  the  pace-makers  in  the  art  of 
printing  ra\'c  o\'cr  a  s|K'cific  face  of  type.?  What     g  j  p  cj  y 

I  Set  -,cilli  lonij  descenders  on  nine  point  body  I 


ABCDEFGIIIIKLMNOPQRSTUVWXYZ& 
JBCDEFGHl'jKLMNOPQRSrurWXYZ'd 

ABCDEFGlIIJKLMNOPQKSTUVWXYZSi 

abcJcfghijklmnopqrstuvwxvzfiflfffrifH  1234.^67890  ($,£.. :-.'-".?!*n8'^)  1234567890 
ctbcdej ghijIAmnopqrstnvicxyzlifll) ffiffl  1234567890  ($£,.:;'-?!  t^PJ  1334567S90 


Ulatri.r  Information:  8A.^''S.   I.( 
zinc,  ('...le  wnnl.  II'OV. 


ver  c.'f^e 


alphabet.  102  points.  I-"i;4ures,  .O.^SJ;  coninia.  period  and  tliin  sp.ice,  .0277.    Runs  in  90  ihanncl  niSKa- 


165 


CASLON  No.  2 


TEN    POINT 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHET 
DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A 

How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  design  is  akvays  practical  design.  And  what  they  see  in 
a  good  type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy 
and  thick,  nor  "skinny" and  weak,  no  waste  of  material  and  no  lack  of  strength.  And,  beyond  that, 
the  chair  may  have  been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and  curves 
and  proportions :  it  may  be,  actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of  letters.  And 
your  chair,  or  your  letter  (if  a  true  artist  made  it)  will  have,  besides  its  good  looks,  a  suitability  to 
the  ?ith  degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That  explains,  in  a  way,  why  the  experts 
rave  over  the  fine  shapes  of  letters ;  but  it  fails  to  explain  wherein  the  shapes  are  fine.  If  you  seek  to 
go  further  with  the  inquiry,  theories  will  be  your  only  answer.  Here  is  a  theory  that  the  proponent 
thinks  may  have  sense  in  it.  Fine  type  letters  were,  in  the  first  place,  copies  of  fine  written  letters. 
Fine  written  letters  were  fine  because  they  were  produced  in  the  most  direct  and  simple  way  by  a 
tool  in  the  hands  of  a  person  expert  in  its  use,  by  a  person,  moreover,  who  was  an  artist,  i.e.,  a  per- 
son equipped  to  make  sound  judgments  about  lines,  curves,  proportions,  etc.  The  artist  of  that 
moment  when  printing  was  invented  who  furnished  the  fine  written  patterns  for  type  was  (luckily 
for  printing)  working  at  the  top  notch  of  a  fine  tradition  of  calligraphy.  He  was  making  sound 
judgments  about  lines  and  curves  and  proportions  of  letters.  He  had  resurrected  an  ancient  dis- 
tinguished style  of  writing  and  had  added  to  it  the  quality  of  his  own  fine  taste.  His  letters  flowed 
from  his  pen  easily  and  simply,  without  any  tricks  or  affectations  or  extraneous  embellishments. 
He  was  simple  enough  and  artist  enough  to  let  the  implement  itself  (and  his  facile  hand)  shape  the 

(two  point  leaded) 

Howis  ONE  to  assess  and  evaluate  a  type  face  in  Howis  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace-  terms  of  Its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific  makers  in  the  art  of  printing  rave  over  a  specific 
face  of  type  ?  What  do  they  see  in  it  ?  Why  is  it  so  f^^^  ^f  ^  _?  what  do  they  see  in  it  ?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  de-  superlatively  pleasant  to  their  eyes?  Good  de- 
sign xs  akvays  practical  design,  knd^h^l  they  .^  akvays  practical  design.  And  what  they 
see  in  a  good  type  design  IS,  partly,  Its  excellent  '^  .  -  ^  ,  .  .  *  ,  .  ,,  -^ 
practical  fitness  to  perform  its  work.  It  has  a  ^^^  ^^  ^  2°°^  type  design  is  partly,  its  excellent 

f,       ,   ,,  ,    1       ,  •  n        r  •  •  •     1  (one  point  leaded) 

"heft   and  balance  in  all  of  its  parts  jast  right 

IT       •  ,  J        7     *       *   ^    ;        ■        How  is  one  to  assess  and  evaluate  a  type  face  in 

Hozvis  one  to  assess  and  evaniate  atype  face  in  .  -'r 

terms  of  its  esthetic  desig^i?  Why  do  the  pace-  terms  of  its  esthetic  design.'  Why  do  the  pace- 
makers  in  the  art  of  printing  rave  over  a  specific      makers  in  the  art  of  printing  rave  ove     g  j  p  q  y 

(solid)  '■^'''  ''■''"'  '""fl  descenders  on  eleven  point  body) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPORSTUVWXYZ& 

ABCDEFGHIJ  KLMNOPQRSTUV\VXYZ& 

abcdefghijklmnopqrstuvwxyzfiflffffiffl  1234567890  (55£,. :;'-'?  !*t1:§11)  1234567890 
abcdefghijklm nopqrstuvzv.xyzfififfffiffl  1234567890  ($£,. :;'-'?!  t|§1l)  i234s678go 

Matrix  Injormatiim :  inA260.  Lower  case  alphabet.  127  points.  Figures,  .0692;  comma,  period  and  thin  space,  .UJ46.  Runs  in  90  channel  maga- 
zine, ("ode  word,  IPSE. 


166 


^.-^ 

''"^     CASLONNo.  2 


ELEVEN    POINT 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS 
ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINT 

How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  ?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in 
it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  alzuays  practical  de- 
sign. And  what  they  see  in  a  good  t)-pe  design  is.  partly,  its  excellent  practical  fitness  to 
perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  Just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do 
exacth'  the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and 
weak,  no  waste  of  material  and  no  lack  of  strength.  And,  beyond  that,  the  chair  may  have 
been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and  curves  and  propor- 
tions :  it  may  be,  actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of  letters.  And 
your  chair,  or  your  letter  (if  a  true  artist  made  it)  will  have,  besides  its  good  looks,  a  suit- 
ability to  the  nxh.  degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That  explains,  in  a 
way,  why  the  experts  rave  over  the  fine  shapes  of  letters ;  but  it  fails  to  explain  wherein 
the  shapes  are  fine.  If  you  seek  to  go  further  with  the  inquiry,  theories  will  be  your  only 
answer.  Here  is  a  theory  that  the  proponent  thinks  ma\'  have  sense  in  it :  Fine  type  letters 
were,  in  the  first  place,  copies  of  fine  written  letters.  Fine  written  letters  were  fine  because 
they  were  produced  in  the  most  direct  and  simple  way  by  a  tool  in  the  hands  of  a  person 
expert  in  its  use,  by  a  person,  moreover,  who  was  an  artist,  i.e.,  a  person  equipped  to 
make  sound  judgments  about  lines,  curves,  proportions,  etc.  The  artist  of  that  moment 
when  printing  was  invented  who  furnished  the  fine  WTitten  patterns  for  type  was  (luckily 
for  printing)  working  at  the  top  notch  of  a  fine  tradition  of  calligraphy.  He  was  making 
sound  judgments  about  lines  and  curves  and  proportions  of  letters.  He  had  resurrected 
an  ancient  distinguished  style  of  writing  and  had  added  to  it  the  quality  of  his  own  fine 
taste.  His  letters  flowed  from  his  pen  easily  and  simply,  without  any  tricks  or  affectations 
or  extraneous  embellishments.  He  was  simple  enough  and  artist  enough  to  let  the  imple- 
ment itself  (and  his  facile  hand)  shape  the  product.  The  fine  qualities  of  this  artist's  let- 
ter-forms were  carried  over  into  the  metal  types  and  sealed  up  there,  like  butterflies  in 
amber.  It  is  argued,  however,  that  the  ascription  of  beauty  to  type  letters  by  this  route 

Hozv  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printi)ig  rave  over  a  specific  face  of  type?  What  do  they  see  in 
it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  practical  de- 

I  l-i:>  point  l,-,ul,-,V 

ABCDEFGHI JKLMNOPQRSTUVWXYZ  &: 
ABCDEFGHI'JKLMNOPORSTUVWXYZ'J 

ABCDEFGHI  J  KLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflffffiffl  1234567890  (a,.: ;'-'?  !*tt§^ )  1234567890 
ahcdefghijklmnopqrstiiv:rxyzfiflffffi[JI  12U567S00  ( C$,.:;'-?!  ttPJ  U^US^^T^'^OO 

Miitiix  Iiih'i  iiidti,ni  ■  llAn2,  Louor  i\i^c  nlph.ilict.  1,19  p.iints.  Fimire-^.  .nri.l  :  coiiim.-i.  ihtkiiI  ;uid  iliin  ip.uc.  .ii;n.  \iuu<  r.i  ''O  ib.inm'I  mi.ii;.i- 
;'ine.  Tiidc  word,  20.TK. 


167 


^^y, 

'%    CASLONNo.  2 


TWELVE   POINT 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS 
OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  A 

How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do 
they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes ?  Good  design  is  al- 
ways practical  design.  And  what  they  see  in  a  good  type  design  is,  partly,  its  excel- 
lent practical  fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its 
parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts 
made  nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither 
clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of  material  and  no  lack  of 
strength.  And,  beyond  that,  the  chair  may  have  been  made  by  a  man  who  worked 
out  in  it  his  sense  of  fine  shapes  and  curves  and  proportions  :  it  may  be,  actually,  a 
work  of  art.  The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  let- 
ter (if  a  true  artist  made  it)  will  have,  besides  its  good  looks,  a  suitability  to  the  nth. 
degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That  explains,  in  a  way,  why  the 
experts  rave  over  the  fine  shapes  of  letters  ;  but  it  fails  to  explain  wherein  the  shapes 
are  fine.  If  you  seek  to  go  further  with  the  inquiry,  theories  will  be  your  only  an- 
swer. Here  is  a  theory  that  the  proponent  thinks  may  have  sense  in  it :  Fine  type 
letters  were,  in  the  first  place,  copies  of  fine  written  letters.  Fine  written  letters  were 
fine  because  they  were  produced  in  the  most  direct  and  simple  way  by  a  tool  in  the 
hands  of  a  person  expert  in  its  use,  by  a  person,  moreover,  who  was  an  artist,  i.e.,  a 
person  equipped  to  make  sound  judgments  about  lines,  curves,  proportions,  etc. 
The  artist  of  that  moment  when  printing  was  invented  who  furnished  the  fine  writ- 
ten patterns  for  type  was  (luckily  for  orinting)  working  at  the  top  notch  of  a  fine 
tradition  of  calligraphy.  He  was  making  sound  judgments  about  lines  and  curves 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  i?i  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do 

(tu'o  pnint  leaded) 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type  ?     g  j  p  q  y 

(Set  irilli  loiuj  descenders  vn  tliirtcen  point  body) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZlf^ 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflffffiffi  123456789  ($£,.:;'-'?  !*t|§1[)  123456789 
abcdefghijklmnopqrstuvwxyzfififfffiffl  1234567S9  ($£,.:;'-'?!  )  i23456'/8g 

Matrix  Ijifayjuatioii :  12A/4-  Lower  case  alphabet.  151  points.  Figures,  .0S3;  comma,  period  and  thin  space.  .0415.  Runs  in  90  channel  magazine. 
Code  word.  IPTl. 


168 


^>|<>|<>|<5|<>|<>|<>|c>|<>|<>|<*>|<>|<>|<>)<>|<:^c:>jc5|<>j<::+c>)c:^-)f 


Caslon  Bold 

FAM I LY 

CASLON  BOLD  •  CASLON  No.  3 
CASLON  BOLD  CONDENSED 


For  decades  Caslon  No.  3,  commonly 
known  as  Caslon  Bold,  has  proved  its 
worth  as  an  almost  universal  bold  face. 
It  is  sturdy  in  design,  clear  and  legible, 
prints  well  on  any  kind  of  stock.  It  has 
no  mannerisms  to  prevent  its  use  with 
a  variety  of  body  faces,  harmonizes  suit- 
ably with  other  Caslon  faces,  and  with 
Old  Style  Antique,  when  a  roman  and 
bold  combination  is  desired.  This  speci- 
men folder  shows  the  size  range  of  Cas- 
lon No.  3,  its  accompanying  Caslon  No. 
3  Italic,  and  the  Caslon  Bold  Condensed 
—a  companion  narrower  form  of  letter. 


•.>i 


V       >U      sJ^     •kI'     •d.'     <^     sX*     ^X*  V 


LINOTYPE 


^Y*"       ^V^       ^V^      ^^^       ^V^      ^^^       ^1*        /\ 


MERGENTHALER    LINOTYPE   COMPANY,   BROOKLYN,    NEW  YORK.  New  "ibrk  City,  Cliica(<o,   San 
Francisco,  New  Orleans.  Canadian  Linotype,  Limited,  Toronto.  Representatives  in  the  Principal  Cities  of  the  World 


LIST   OF   CHARACTERS    IN   TWO-LETTER    FONTS 
WITH    ITALIC   AND   SMALL  CAPS 

ABCDEFGHIJKLMNOPQRSTUVWXYZ 
ABCDEFGHIJKLMNOPQRSTUVWXYZ 

ABCDEFGHIJ  KLMNOPQRSTUVWXYZ 

12345        abcdefghijklmnopqrstuvwxyz        67890 
VBGDE        abcdefghijklmnopqrstuvwxyz        FGRTJ 

,.:;?!(!)  *"-  —  ^(Etb&£$.  ..  fiflffffifflce^ 

,.S;f/AIQO" ^  CE  B  N£PL         .    .  .  flY  ffWMHK 


5      » 


12345      Z&:  (  )  flffiffl$£ece      67890 
12345      ij&:(  )flffiffi$csce      67890','. 

'AVa'AVi'AVa'A      xz&7E(e      @%t1:§lI-[] 


OLD    STYLE    FIGURES 

1234567890  1234567890 

Made  in  all  si^es  and  will  l)e  substituted  for  those  regularly  furnished 
with  a  font,  if  so  ordered,  or  they  may  be  added  as  an  extra 


ONE-LETTER     ITALIC    LOGOTYPES 

FA  PA  TA  VA  WA  YA  Th  Wh 

SPECIAL    NO,    5 

/  af  aff  ef  eff  hj  if  iff  kf  If  mf  nf  of  off  pf  rf  sf  tf  uf  uff  yf  If  Of  Off 

ONE-LETTER    ITALIC 
SPECIAL   NO.   5 

abcdefghijklmnopqrstuvwxyz 

TRUE-CUT   SMALL   CAPS 

SPECIAL    NO.    5 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

TWO-LETTER    LOGOTYPES 

E  ETaTeToTrTuTwTy  T.  VaVeVoV  Wa  We  Wi  Wo  Wr  W. 
F.  P.TaTe  To  Tr  Tu  Tw  Ty  T.  Va  Ve  Vo  V.  Wa  We  Wi  Wo  Wr  W. 

Ya  Ye  Yo  Y 

Ya  Ye  Yo  Y 


170 


COMPARISON  OF  SIZES 


CASLON  No.  3 

5  Point  (SA-f<t  I.Dwer  case  alphabet.  7r,  p.jims.  I-iKures,  .0415 
HOW  IS  ONE  TO  ASSnSS  AND  F-VALUATF.  A  TVPF  FACF,  IN  TFRMS  OF  ITS  FSTIIiniC:  DESIGN?  WHY  DO  THE  PACE. 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  jiace-makers  in  the  art  of  printing  rave  ov  1234 

Hon-  IS  ONl;  to  asseS!  and  ,-i;iluale  a  type  fa,,-  •«  lirms  uf  ,1s  .ilhelic  driignT  llhy  du  the  pac,--mak,;s  ,„  the  a,  I  of  prmlmf  rave  VK.n        (,,!.M  LINOTYPE""'') 

6  Point  (6A16n)  Lower  case  alphahet,  m  points.  Figures.  .04.^4 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY 
How  is  one  to  assess  and  evaluate  a  t>pe  face  in  terms  ol  its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of  12.M 
HOiy  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  ar  VBCU 

7  Point  (7A1.'4)  Lower  case  alphabet.  09  points.  Figures.  .0553 
HOW  IS  ONE  TO  ASSESS  AND  EVALU.\TE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESI 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  i  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  IV hy  do  the  pace-make  VBCD 

8  Point  (8A-0S)  Lower  case  alphabet.  lOS  points.  Figures.  .0553 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHET 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  estfietic  design?  Why  do  the  pace-  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  estfietic  design?  Why  do  the  pa  VBCD 

9  Point  (9A130)  Lower  case  alphabet.  124  points.  Figures.  .0633 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  I 

How  is  one  to  assess  and  evaluate  a  type  face  in  teritis  of  its  esthetic  design?  Why  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  W  VBCD 

10  Point  (lOAlSO)  Lower  case  alphabet.  139  points.  Figures.  .0r,93 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TER 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  desig  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  vbcd 

13  Point  (13AI30)  Lower  case  alphabet.  16S  points.  Figures.  .0S3 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FA 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  est  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  it  vbcd 

14  Point  (14A54)  Lower  case  alphabet,  193  points.  Figures.  .0968 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  1 1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  t  vbcd 

1,^  Point  (lSA31~t  L.iwer  case  alphabet.  3r,'>  points.  Figure  1.  .1383 ;  3  to  ii.  M,f, 

HOW  IS  one  to  assess  and  evaluate  a  ty  12 

24  Point  (34A175)  Lower  case  alphahet.  347  points.  Figure  1.  .1798;  2  to  0.  .2075 

HOW  IS  one  to  assess  and  eva  12 

30  Point  (30AI13)  Lower  case  alphabet.  421  points.  Figure  1.  .2313;  2  to  0.  .249 

HOW  IS  one  to  assess  a  12 

1.S  I'oint  Italic  (I.>fA315>  Lower  case  alphabet,  271  points.  Fit;ure  1.  .1522:  2  to  0.  .1798 

HO  W  IS  one  to  assess  and  evaluate  a  12 

24  T'oint  Italic  (24A177)  Lower  case  alphabet.  350  points.  Figure  1.  .1798:  2  to  0.  .2213 

HOW  IS  one  to  assess  and  12 

M  I'oint  Italic  (30A115)  Lower  case  alphabet.  411  points.  FiKure  1.  .2075:  2  to  0.  .249 

HOW  IS  one  to  assess  a  12 


Larger  sizes  shown  in  A-P-L  seificn. 


171 


COMPARISON  OF  SIZES 


CASLON  BOLD 

5  Point  (5A38)  Lower  case  alphabet,  90  points.  Figures,  .046 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PA 

C^       How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  art  1234 
Bflpc  LINOTYPE^^^O      HOW  IS  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  1234 

6  Point  (6A-410)  Lower  case  alphabet.  100  points.  Figures,  .0484 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design.'  Why  do  the  pace-makers  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-make  1234 


CASLON  BOLD  CONDENSED 

14  Point  (HAIl?)  Lower  case  alphabet,  .169  points.  Figures.  .0968 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  1234 

18  Point  (ISAlbJ)  Lower  case  alphabet.  203  points.  Figures.  .1107 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYP 
How  is  one  to  assess  and  evaluate  a  type  face  in  term  12 

24  Point  I24A11'J)  Lower  case  alphabet.  250  points.  Figure  1,  .1245;  2  to  0.  .166 

HOW  IS  ONE  TO  ASSESS  AND  EV ALUA 
How  is  one  to  assess  and  evaluate  a  type  f  12 

30  Point  (30A67)  Lower  case  alphabet,  306  points.  Figure  1,  .1522;  2  to  0,  .2075 

HOW  IS  ONE  TO  ASSESS  AND  E 
How  is  one  to  assess  and  evaluate  12 

36  Point  (36A1431  Lower  case  alphabet.  390  points.  Figure  1,  .1798;  2  to  0,  .249 

HOW  IS  one  to  assess  an  12 

Larger  sizes  shown  in  A-P-L  section. 


CASLON  BOLD  EXTRA  CONDENSED 

24  Pciiiit  <-?4A-^")  Caps,  figures  and  points  only.  Figures,  .1107 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  12 

30  Pnint  (30/\2l9)  Caps,  figures  and  points  only.  Figures,  .1107 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  12 


172 


CASLON  BOLD 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN^  WHY  DO  THE  PA 
MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  OF  TYPE?  WHAT  DO  THEY  SEE  IN  IT?  W 


How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of 
its  esthetic  design?  Why  do  the  pace-makers  in  the  art 
of  printing  rave  over  a  specific  face  of  type?  What  do 
they  see  in  it?  Why  is  it  so  superlatively  pleasant  to 
their  eyes?  Good  design  is  always  practical  design.  And 
what  they  see  in  a  good  type  design  is,  partly,  its  ex- 
cellent practical  fitness  to  perform  its  work.  It  has  a 
"heft'*  and  balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  exactly  the 
work  that  the  chair  has  to  do,  neither  clumsy  and  thick, 
nor  "skinny**  and  weak,  no  waste  of  material  and  no 
lack  of  strength.  And,  beyond  that,  the  chair  may  have 
been  made  by  a  man  who  worked  out  in  it  his  sense  of 
fine  shapes  and  curves  and  proportions:  it  may  be,  actu- 
ally, a  work  of  art.  The  same  thing  holds  for  shapes  of 
letters.  And  your  chair,  or  your  letter  (if  a  true  artist 
made  it)  will  have,  besides  its  good  looks,  a  suitability 
to  the  nth  degree  to  be  sat  in,  or  stamped  on  paper  and 
read.  That  explains,  in  a  way,  why  the  experts  rave  over 
the  fine  shapes  of  letters;  but  it  fails  to  explain  wherein 
the  shapes  are  fine.  If  you  seek  to  go  further  with  the 
inquiry,  theories  will  be  your  only  answer.  Here  is  a  the- 
ory that  the  proponent  thinks  may  have  sense  in  it: 
Fine  type  letters  were,  in  the  first  place,  copies  of  fine 
written  letters.  Fine  written  letters  were  fine  because 
they  were  produced  in  the  most  direct  and  simple  way 
by  a  tool  in  the  hands  of  a  person  expert  in  its  use,  by 
a  person,  moreover,  who  was  an  artist,  i.e.,  a  person 
equipped  to  make  sound  judgments  about  lines,  curves, 
proportions,  etc.  The  artist  of  that  moment  when  print- 
ing was  invented   who   furnished   the  fine   written   pat- 


How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of 

its  esthetic  design?  Why  do  the  pace-makers  in   the  art 

of  fyrinting  rave  over  a  specific  face  of   type?   What  do 

(solid) 

ABCDEFCHIJKLMNOPORSTUVWXYZ& 
ABCDEFGHUKLMNOPQRSTVVWXyZ& 
abcdefghijklmnopqrstuvwxyzfiflffffiffl  1234567800  ($£,. 
abcdefghijklmnopqrstuvuxyzfifltfffitfl  1234567890  ($£,. 


How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of 
its  esthetic  design?  Why  do  the  pace-makers  in  the  art 
of  printing  rave  over  a  specific  face  of  type?  What  do 
they  see  in  it?  Why  is  it  so  superlatively  pleasant  to 
their  eyes?  Cood  design  is  always  practical  design.  And 
what  they  see  in  a  good  type  design  is.  partly,  its  ex- 
cellent practical  fitness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  exactly  the 
work  that  the  chair  has  to  do,  neither  clumsy  and  thick, 
nor  "skinny"  and  weak,  no  waste  of  material  and  no 
lack  of  strength.  And,  beyond  that,  the  chair  may  have 
been  made  by  a  man  who  worked  out  in  it  his  sense  of 
fine  shapes  and  curves  and  proportions:  it  may  be,  actu- 
ally, a  work  of  art.  The  same  thing  holds  for  shapes  of 
letters.  And  your  chair,  or  your  letter  (if  a  true  artist 
made  it)  will  have,  besides  its  good  looks,  a  suitability 
to  the  nth  degree  to  be  sat  in,  or  stamped  on  paper  and 
read.  That  explains,  in  a  way,  why  the  exports  rave  over 
the  fine  shapes  of  letters;  but  it  fails  to  explain  wherein 
the  shapes  are  fine.  If  you  seek  to  go  further  with  the 
inquiry,  theories  will  be  your  only  answer.  Here  is  a  the- 
ory that  the  proponent  thinks  may  have  sense  in  it: 
Fine  type  letters  were,  in  the  first  place,  copies  of  fine 
written  letters.  Fine  written  letters  were  fine  because 
they  were  produced  in  the  most  direct  and  simple  way 
by  a  tool  in  the  hands  of  a  person  expert  in  its  use,  by 
a  person,  moreover,  who  was  an  artist,  i.e.,  a  person 
equipped  to  make  sound  judgments  about  lines,  curves, 
(onr  pomt  leaded) 


*-'?!*n§r) 


Matrix  Information :  SA^^S.  Lower  c.ise 
channel  magazine.  Codeword,  ZETOT. 


ilphabet.  90  i>uints.   FiKiires.  AW<\  cumma.  period  and  thin  space.  .0277.  Runs  in  !>U 


POINT 


-^jTruNOTYPEHE)- 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY 
DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  OF  TYPE?  WHAT 


How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace-mak- 
ers in  the  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it  so  superla- 
tively pleasant  to  their  eyes?  Good  design  is  always 
practical  design.  And  what  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fitness  to 
perform  its  work.  It  has  a  "heft"  and  balance  in  all 
of  its  parts  just  right  for  its  size,  as  any  good  tool 
has.  Your  good  chair  has  all  of  its  parts  made  nice- 
ly to  the  right  size  to  do  exactly  the  work  that  the 
chair  has  to  do,  neither  clumsy  and  thick,  nor 
"skinny"  and  weak,  no  waste  of  material  and  no 
lack  of  strength.  And,  beyond  that,  the  chair  may 
have  been  made  by  a  man  who  worked  out  in  it  his 
sense  of  fine  shapes  and  curves  and  proportions:  it 
may  be,  actually,  a  work  of  art.  The  same  thing 
holds  for  shapes  of  letters.  And  your  chair,  or  your 
letter  (if  a  true  artist  made  it)  will  have,  besides 
its  good  looks,  a  suitability  to  the  nth  degree  to  be 
sat  in,  or  stamped  on  paper  and  read.  That  ex- 
plains, in  a  way,  why  the  experts  rave  over  the  fine 
shapes  of  letters;  but  it  fails  to  explain  wherein  the 
shapes  are  fine.  If  you  seek  to  go  further  with  the 
inquiry,  theories  will  be  your  only  answer.  Here  is 
a  theory  that  the  proponent  thinks  may  have  sense 
in  it:  Fine  type  letters  were,  in  the  first  place, 
copies  of  fine  written  letters.  Fine  written  letters 
How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace-mak- 
ers in  the  art  of  printing  rave  over  a  specific  face  of 
(solid) 


How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace-mak- 
ers in  the  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it  so  superla- 
tively pleasant  to  their  eyes?  Good  design  is  always 
practical  design.  And  what  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fitness  to 
perform  its  work.  It  has  a  "heft"  and  balance  in  all 
of  its  parts  just  right  for  its  size,  as  any  good  tool 
has.  Your  good  chair  has  all  of  its  parts  made  nice- 
ly to  the  right  size  to  do  exactly  the  work  that  the 
chair  has  to  do,  neither  clumsy  and  thick,  nor 
"skinny"  and  weak,  no  waste  of  material  and  no 
lack  of  strength.  And,  beyond  that,  the  chair  may 
have  been  made  by  a  man  who  worked  out  in  it  his 
sense  of  fine  shapes  and  curves  and  proportions:  it 
may  be,  actually,  a  work  of  art.  The  same  thing 
holds  for  shapes  of  letters.  And  your  chair,  or  your 
letter  (if  a  true  artist  made  it)  will  have,  besides 
its  good  looks,  a  suitability  to  the  nth  degree  to  be 
sat  in,  or  stamped  on  paper  and  read.  That  ex- 
plains, in  a  way,  why  the  experts  rave  over  the  fine 
shapes  of  letters;  but  it  fails  to  explain  wherein  the 
shapes  are  fine.  If  you  seek  to  go  further  with  the 
inquiry,  theories  will  be  your  only  answer.  Here  is 
a  theory  that  the  proponent  thinks  may  have  sense 
in  it:  Fine  type  letters  were,  in  the  first  place, 
(oiu'  pniuf  It-adcd) 


ABCDEFGHIJKLMNOP0RSTUVWXYZ& 

ABCDEFGHUKLMNOPQRSTUVWXYZa 

abcdefghijklmnopqrstuvwxyzfiflffffifn  12.14.S678')0  ( $£,.:;'-' ?!*t*§11) 

abcdefghijklmnopqrstuvwxyzfiflffffiffl  123^567SV0  ($£,.: ;'-'?!*n^1,) 


POINT 


Matrix  Information  :  f.A'^10-  Lower  case  alphalict.  TOO  pninl'^ 
channel  inaRa/ine.  Code  word,  ZETOL. 


FiL,*ur 


.d  and  thin  space.  .0:77.  Runs  in  90 


173 


GASLON  No.  3 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE- 
MAKERS IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  OF  TYPE?  WHAT  DO  THEY  SEE  IN  IT?  WHY  IS  IT 


How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  es- 
thetic design?  Why  do  the  pace-makers  in  the  art  of  printing  rave 
over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
POINT  superlatively  pleasant  to  their  eyes?  Good  design  is  always  prac- 
tical  dfsiS"-  And  what  they  see  in  a  good  type  design  is,  partly, 
its  excellent  practical  fitness  to  perform  its  work.  It  has  a  "heft" 
end  balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good 
tool  has.  Your  good  chair  has  alt  of  its  parts  made  nicely  to  tlie 
right  size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither 
clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of  material 
and  no  lack  of  strength.  And,  beyond  that,  the  chair  may  hove 
been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes 
and  curves  and  proportions:  it  may  be,  actually,  a  work  of  art. 
The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or 
your  letter  (if  a  true  artist  made  it)  will  have,  besides  its  good 
looks,  a  suitability  to  the  »th  degree  to  be  sat  in,  or  stamped  on 
paper  and  read.  That  explains,  in  a  way,  why  the  experts  rave 
over  the  fine  shapes  of  letters;  but  it  fails  to  explain  wherein  the 
shapes  are  fine.  If  you  seek  to  go  further  with  the  inquiry,  theo- 
ries will  be  your  only  answer.  Here  is  a  theory  that  the  proponent 
thinks  may  have  sense  in  it:  Fine  type  letters  were,  in  the  first 
place,  copies  of  fine  written  letters.  Fine  written  letters  were  fine 
because  they  were  produced  in  the  most  direct  and  simple  way  by 
a  tool  in  the  hands  of  a  person  expert  in  its  use,  by  a  person, 
moreover,  who  was  an  artist,  i.e.,  a  person  equipped  to  make 
sound  judgments  about  lines,  curves,  proportions,  etc.  The  artist 
of  that  moment  when  printing  was  invented  who  furnished  the  fine 
written  patterns  for  type  was  (luckily  for  printing)  working  at  the 
top  notch  of  a  fine  tradition  of  calligraphy.  He  was  making  sound 

How  is  one  to  assess  and  ezmluate  a  tyPe  face  in  terms  of  its  es- 
thetic design?  Why  do  the  pace-makers  in  the  art  of  printing  rave 
over  a  specific  face  of  type?  What  do  they  sec  in  it?   Why  is  it  so 

(solid) 


How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  es- 
thetic design?  Why  do  the  pace-makers  in  the  art  of  printing  rave 
over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  design  is  always  prac- 
tical design.  And  what  they  see  in  a  good  type  design  is,  partly, 
its  excellent  practical  fitness  to  perform  its  \vork.  It  has  a  "heft'* 
and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good 
tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the 
right  size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither 
clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of  material 
and  no  lack  of  strength.  And,  beyond  that,  the  chair  may  have 
been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes 
and  curves  and  proportions:  it  may  be,  actually,  a  work  of  art. 
The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or 
your  letter  (if  a  true  artist  made  it)  will  have,  besides  its  good 
looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped  on 
paper  and  read.  That  explains,  in  a  way,  why  the  experts  rave 
over  the  fine  shapes  of  letters;  but  it  fails  to  explain  wherein  the 
shapes  are  fine.  If  you  seek  to  go  further  with  the  inquiry,  theo- 
ries will  be  your  only  answer.  Here  is  a  theory  that  the  proponent 
thinks  may  have  sense  in  it:  Fine  type  letters  were,  in  the  first 
place,  copies  of  fine  written  letters.  Fine  written  letters  were  fine 
because  they  were  produced  in  the  most  direct  and  simple  way  by 
a  tool  in  the  hands  of  a  person  expert  in  its  use,  by  a  person, 
moreover,  who  was  an  artist,  i.e.,  a  person  equipped  to  make 
sound  judgments  about  lines,  curves,  proportions,  etc.  The  artist 
of  that  moment  when  printing  was  invented  who  furnished  the  fine 
written  patterns  for  type  was  (luckily  for  printing)  working  at  the 
(one  point  leaded) 


ABCDEFGHIJKLMNOP0RSTUVWXYZ& 
ABCDEFGHIJKLMNOFORSTUVWXYZ& 

ABCDEFGHIJKLMNOP0RSTUVWXVZ& 

abcdefghijklmnopqrstuvwxyzfiflffffiffl  1234567890  ($£,.:;'-'?  !*tj§ll)  1234567890 
abcdefghijklmnopqrstuvwxyzfififfffim  12S4S67890  (Si,.:;'-'?!  tJ§!tJ  1234567890 


Matrix  Information  :  5A-8.  Ln\\er  case  alphabet, 
channel  magazine.  Code  word.  ZAIIEV. 


"6  points.  Figures.  .0415;  comma,  period  and  thin  space,  .0277.  Runs  in  90 


-(°  LINOTYPE"   > 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY 
DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  OF  TYPE?  WHAT 


How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of 
its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of 
POI  NT  printing  rave  over  a  specific  face  of  type?  What  do  they 
see  in  it?  Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  desifin  is  always  practical  design.  And  what 
they  see  in  a  good  type  design  is,  partly,  its  excellent 
practical  fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as  any 
good  tool  has.  \bur  good  chair  has  all  of  its  parts  made 
nicely  to  the  right  size  to  do  exactly  the  work  that  the 
chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny" 
and  weak,  no  waste  of  material  and  no  lack  of  strength. 
And,  beyond  that,  the  chair  may  have  been  made  by  a 
man  who  worked  out  in  it  his  sense  of  fine  shape^  and 
curves  and  proportions:  it  may  be,  actually,  a  work  of 
art.  The  same  thing  holds  for  shapes  of  letters.  And  your 
chair,  or  your  letter  (if  a  true  artist  made  it)  will  have, 
besides  its  good  looks,  a  suitability  to  the  nth  degree  to 
be  sat  in,  or  stamped  on  paper  and  read.  That  explains, 
in  a  way,  why  the  experts  rave  over  the  fine  shapes  of 
letters:  but  it  fails  to  explain  wherein  the  shapes  are 
fine.  If  you  seek  to  go  further  with  the  inquiry,  theories 

The  same  thing  holds  for  shapes  of  letters.  A  ii.l  your  chair,  or 
your  letter  (if  a  true  artist  made  it )  will  have,  besides  its  good 
looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped 
on  paper  and  read.  That  explains,  in  a  way,  why  the  experts 

lOnc-I.cltcr  Italic! 


How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of 
its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of 
printing  rave  over  a  specific  face  of  type?  What  do  they 
see  in  it?  Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design.  And  what 
they  see  in  a  good  type  design  is,  partly,  its  excellent 
practical  fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as  any 
good  tool  has.  ^'our  good  chair  has  all  of  its  parts  made 
nicely  to  the  right  size  to  do  exactly  the  work  that  the 
chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny" 
and  weak,  no  waste  of  material  and  no  lack  of  strength. 
And,  beyond  that,  the  chair  may  have  been  made  by  a 
man  who  worked  out  in  it  his  sense  of  fine  shapes  and 
curves  and  proportions:  it  may  be,  actually,  a  work  of 
art.  The  same  thing  holds  for  shapes  of  letters.  And  your 
chair,  or  your  letter  (if  a  true  artist  made  it)  will  have, 
besides  its  good  looks,  a  suitability  to  the  Hth  degree  to 
be  sat  in,  or  stamped  on  paper  and  read.  That  explains, 
in  a  way,  why  the  experts  rave  over  the  fine  shapes  of 
letters;  but  it  fails  to  explain  wherein  the  shapes  are 
fine.  If  you  seek  to  go  further  with  the  inquiry,  theories 
will  be  your  only  answer.  Here  is  a  theory  that  the  pro- 
ponent thinks  may  have  sense  in  it:  Fine  type  letters 
(one  point  leaded) 


ABCDEFGHTJKLMNOP0RSTUVWXYZ& 
ABCDEFGHUKLMNOPQRSTUy».\YZ& 

ABCDEIGHIJKI-MNOI'QRSrUVWXVZi 

abcdefghijklmnopqrstuvwxyzfiflffffiffl  1234567890  ($£,.:;'-'? !*tt§11)  1234567890 
abcdefghijklmnopgrstuvwxyzfiflffffiffi  12345b7S90  (S  £,.:;'.•  T .'  tt§V  1234S67S90 


ONE-LETTER  ITALIC,  SPECIAL  NO.  S 
abcdefghijklmnopqrstuvwxyz 


TRUE-CUT  SMALL  CAPS,  SPECIAL  NO.  5 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 


Matrix  Injormation  :  6A1^0.  Lower  case  alphabet,  89  points.  Figures.  .0484;  comma,  period  and  thin  space,  .0277.  Runs  in  90 
channel  magazine.  Code  word,  IPUF. 


174 


CASLON  No.  3 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESI 
WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  O 


How  IS  ONE  to  assess  and  evaluate  a  type  face  in 
terms  of  its  estfietic  design?  Why  do  the  pace-mak- 
ers in  the  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it  so  superla- 
tively pleasant  to  their  eyes?  Good  design  is  always 
practical  design.  And  what  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fitness  to 
perform  its  work.  It  has  a  "heft"  and  balance  in  all 
of  its  parts  just  right  for  its  size,  as  any  good  tool 
has.  Your  good  chair  has  all  of  its  parts  made  nicely 
to  the  right  size  to  do  exactly  the  work  that  the  chair 
has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and 
weak,  no  waste  of  material  and  no  lack  of  strength. 
And,  beyond  that,  the  chair  may  have  been  made  by 
a  man  who  worked  out  in  it  his  sense  of  fine  shapes 
and  curves  and  proportions:  it  may  be,  actually,  a 
work  of  art.  The  same  thing  holds  for  shapes  of  let- 
ters. And  your  chair,  or  your  letter  (if  a  true  artist 

How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace-mak- 
ers in  the  art  of  printing  rave  over  a  specific  face  of 

(solid) 


How  IS  ONE  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace-mak- 
ers in  the  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it  so  superla- 
tively pleasant  to  their  eyes?  Good  design  is  always 
practical  design.  And  what  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fitness  to 
perform  its  work.  It  has  a  "heft"  and  balance  in  all 
of  its  parts  just  right  for  its  size,  as  any  good  tool 
has.  ^our  good  chair  has  all  of  its  parts  made  nicely 
to  the  right  size  to  do  exactly  the  work  that  the  chair 
has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and 
weak,  no  waste  of  material  and  no  lack  of  strength. 
And,  beyond  that,  the  chair  may  have  been  made  by 
a  man  who  worked  out  in  it  his  sense  of  fine  shapes 
and  curves  and  proportions:  it  may  be,  actually,  a 
work  of  art.  The  same  thing  holds  for  shapes  of  let- 
ters. And  your  chair,  or  your  letter  (if  a  true  artist 
made  it)   will  have,  besides  its  good  looks,  a  suita- 

i,ni,-  finiit  leaded) 


ABCDEFGHIJKLMNOP0RSTUVW.\YZ& 
ABCDEFGHIJKLMNOPQRSrUVUXYZ& 

ABCDEFGHIJKLMNOPQKSrUVWXVZ& 

abcdefghijklmnopqrstuvwxyzfiflffffiffl  1234567890  ($£,.::'-'?  !*t; 
abcdefghijklmnopqrstuvwxyzftflffffiffl  1234^6/890  ($i,.:;--'?  !   t: 

Alatrxx  Injormation :  7A154.  Lower  ca^e  alphabet,  90  points.  Figures,  .0353;  cnniiiia.  ptriiK 
channel  magazine.  Code  word,  ZAPZA. 


\)   1234567890 
1;  123456781)0 


POINT 


-(      LINOTYPE    > 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHET 
DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A 

How  IS  ONE  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 


How  IS  ONE  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it 
so  superlatively  pleasant  to  their  eyes?  Good 
design  is  always  practical  design.  And  what  they 
see  in  a  good  type  design  is,  partly,  its  excellent 
practical  fitness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right 
for  its  size,  as  any  good  tool  has.  ^'our  good  chair 
has  all  of  its  parts  made  nicely  to  the  right  size 
to  do  exactly  the  work  that  the  chair  has  to  do, 
neither  clumsy  and  thick,  nor  "skinny"  and  weak, 

(solid) 

The  same  thing  holds  for  shapes  of  letters.  A  nd  your 
chair,  or  your  letter  (if  a  true  artist  made  it)  will 
have,  besides  its  good  looks,  a  suitability  to  the  nth 
degree  to  be  sat  in,  or  stamped  on  paper  and  read. 

(Oiu'-Lettcr  Italic  I 


makers  in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it 
so  superlatively  pleasant  to  their  eyes?  Good 
design  is  always  practical  design.  And  what  they 
see  in  a  good  type  design  is,  partly,  its  excellent 
practical  fitness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right 
for  its  size,  as  any  good  tool  has.  Your  good  chair 
has  all  of  its  parts  made  nicely  to  the  right  size 
to  do  exactly  the  work  that  the  chair  has  to  do, 
neither  clumsy  and  thick,  nor  "skinny"  and  weak, 
no  waste  of  material  and  no  lack  of  strength. 
And,  beyond  that,  the  chair  may  have  been  made 
by  a  man  who  worked  out  in  it  his  sense  of  fine 
shapes  and  curves  and  proportions:  it  may  be, 


ABCDEFGHIJKLMNOP0RSTUVW.\YZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ABCDEFClIIJKLMNOPORSTUVWXYZit 

abcdefghijklmnopqrstuvwxvzfiflfflfiffl  1234567890  ($£,.:  :'-'?!*t1:§^)  1234567890 
abcdefghijklmnopqrstuvwxyzfiflffffiffl  12345b7S9()  ($£..:  ;'■'?!  )  1234567890 

TRUE-CUT  SMALL  CAPS,  SPECIAL  HO.  S 


ONE-LETTER  ITALIC,  SPECIAL  NO.  5 

abcdefgliijklmnopqrstuvwxyz 

Matri.r  hijormat ion  :  ?.A20K  Lower  case  alplial.ct.  lOS  points 
channel  niasa/ine.  Code  word.  IL\'0. 


ABCDEFGHIJKLMNOP0RSTUVWXYZ& 


I'igures. 


.ii?5-i;  . 


pel  iod  and  thin  spat. 


8 


POINT 


175 


GASLON  No.  3 


10 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  I 

How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do 

the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they 
POINT  •     •  •    •  •  • 

see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  prac- 
tical design.  And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent  practical  fit- 
ness to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right 
size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor 
"skinny"  and  weak,  no  waste  of  material  and  no  lack  of  strength.  And,  beyond  that,  the 
chair  may  have  been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do 
the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they 

(tzvn  t^oint  leaded) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
A  BCDEFGHIJKLMNOPQRSTUVWXYZ& 

ABCDEFGH1JKLMN0PQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflfifffiffl  1234567890  ($£,.:  ;'-'?!*tt§1I)  1234567890 
abcdefghijklmnopgrstuvwxyzfififfffiffl  1234S67890  ($£,.:;'-'?!  tt§11^  1234367890 

Matrix  Information:  9A130.  Lower  case  alphabet,  124  points.  Figures,  .0622;  comma,  period  and  thin  space,  .0311.  Runs  in  90 
channel  magazine.  Code  word.  ZARAN. 

(LINOTYPE"  0 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TER 

How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
POINT  ^^y  ^^  *^^  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type? 
What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good 
design  is  always  practical  design.  And  what  they  see  in  a  good  type  design  is, 
partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has.  "Your  good 
chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly  the  work  that 
the  chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste 
of  material  and  no  lack  of  strength.  And,  beyond  that,  the  chair  inay  have  been 

( .zvo  point  leaded) 

The  same  thing  holds  for  shapes  oj  letters.  And  your  chair,  or  your  letter  (ij  a  true 
artist  made  it)  will  have,  besides  its  good  looks,  a  suitability  to  the  nth  degree  to  be 
sat  in,  or  stamped  on  paper  and  read.  That  explains,  in  a  way,  why  the  experts  rave 
over  the  jine  shapes  oj  letters;  but  it  jails  to  explain  wherein  the  shapes  are  jine.  Ij 

fOnc-Lcttci-  Italic) 

ABGDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflfTfBflfl  1234567890  ($£,.:  ;'-'?!*t|§lI)  1234567890 
abcdefghijklmnopQrsttivwxyzfiflffffiffl  1234567890  ($£,.: ;'-'? !  )  1234567890 

ONE-LETTER   ITALIC,  SPECIAL  NO.  5  TRUE-CUT  SMALL  CAPS,  SPECIAL  NO,  5 

abcdeJghijklmnopQrstuvwxyz  abcdefghijklmnopqrstuvwxyz& 

Matrix  Injorwation  :  10A180.  Lower  case  alphabet,  139  points.  Figures,  .0692;  comma,  period  and  thin  space,  .0346.  Runs  in  90 
channel  magazine.  Code  word,  IPWU. 


176 


GASLON  No.  3 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FA 
IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE 

How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  1  ^ 
design?  Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a 
specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  superlatively 
pleasant  to  their  eyes?  Good  design  is  always  practical  design.  And 
what  they  see  in  a  good  type  design  is,  partly,  its  excellent  practical 
fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its 
parts  just  right  for  its  size,  as  any  good  tool  has.  ^bur  good  chair  has 
all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly  the  work 
that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and 
weak,  no  waste  of  material  and  no  lack  of  strength.  And,  beyond 
that,  the  chair  may  have  been  made  by  a  man  who  worked  out  in  it 
his  sense  of  fine  shapes  and  curves  and  proportions:  it  may  be,  actu- 
ally, a  work  of  art.  The  same  thing  holds  for  shapes  of  letters.  And 
your  chair,  or  your  letter  (if  a  true  artist  made  it)  will  have,  be- 
sides its  good  looks,  a  suitability  to  the  «th  degree  to  be  sat  in,  or 
stamped  on  paper  and  read.  That  explains,  in  a  way,  why  the  ex- 
perts rave  over  the  fine  shapes  of  letters;  but  it  fails  to  explain 
wherein  the  shapes  are  fine.  If  you  seek  to  go  further  with  the  in- 
quiry, theories  will  be  your  only  answer.  Here  is  a  theory  that  the 
proponent  thinks  may  have  sense  in  it:  Fine  type  letters  were,  in 

(tzvo  point  leaded) 

The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  let- 
ter (if  a  true  artist  made  it)  will  have,  besides  its  good  looks,  a  suitabil- 
ity to  the  nth  degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That 
explains,  in  a  way,  why  the  experts  rave  over  the  fine  shapes  of  letters; 


(One-Letter  Italic) 

ABCDEFGHIJKLMNOPQRSTU\lVXYZ&($£,.:;'-'?!*t$§ti) 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&($£,.: ;'-'?!  t1:§1i; 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflfiffiffl  1234567890 1234567890 
abcdejghijklmnopqrstuvwxyzfiiififfifli  1234567890 1234567890 

TRUE-CUT  SMALL  CAPS,  SPECIAL  NO.  S 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ONE-LETTER    ITALIC,  SPECIAL  NO.  5 

abcdefghijklmnopqrstuvwxyz 

Matrix  Inlormation:  12A1-0.  Lower  case  alphabet,  ir.5  points.  Figures.  .OS,);  coiunia.  iieri.i.l  ami  thin  spate.  .0413.  Runs  in  90 
channel  niauazine.  <- ode  \v<irii.  II'XV. 


POINT 


177 


CASLON  No.  3 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TY 
FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  W 

J  ^PoiNT  j^Q^  jg  Qp^g  ^Q  assess  and  evaluate  a  type  face  in  terms  of  its 
esthetic  design?  Why  do  the  pace-makers  in  the  art  of 
printing  rave  over  a  specific  face  of  type?  What  do  they 
see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes? 
Good  design  is  always  practical  design.  And  what  they  see 
in  a  good  type  design  is,  partly,  its  excellent  practical  fit- 
ness to  perform  its  work.  It  has  a  "heft"  and  balance  in  all 
of  its  parts  just  right  for  its  size,  as  any  good  tool  has.  \bur 
good  chair  has  all  of  its  parts  made  nicely  to  the  right  size 
to  do  exactly  the  work  that  the  chair  has  to  do,  neither 
clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of  ma- 
terial and  no  lack  of  strength.  And,  beyond  that,  the  chair 
may  have  been  made  by  a  man  who  worked  out  in  it  his 
sense  of  fine  shapes  and  curves  and  proportions :  it  may  be, 
actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of 
letters.  And  your  chair,  or  letter  (if  a  true  artist  made  it) 

(two  Point  leaded) 

The  same  thing  holds  for  shapes  of  letters.  A  nd  your  chair,  or 
your  letter  (if  a  true  artist  made  it)  will  have,  besides  its  good 
looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped  on 
paper  and  read.  That  explains,  in  a  way,  why  the  experts  rave 


f    ne-Letter  Italic) 


ABGDEFGHIJKLMNOPQRSTUVWXYZ&  ($£,. : ; ) 

A  BCDEFGHIJKLMNOPQRSTUVWX  YZ  &($£,.: ; ) 

ABCDEFGHIJ  KLMNOPQRSTU  VWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflffffiffll2345678i2345678 
abcdefghijklmnopqrstuvwxyzfiflffffiffll2345678 12343678 

TRUE-CUT  SMALL  CAPS,  SPECIAL  NO.  S 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ONE-LETTER  ITALIC,  SPECIAL  NO.  5 

abcdefghijklmnopqrstuvwxyz 

Matrix  Information :  14A54.  Lower  case  alphabet,  193  points.  Figures.  .0968;  comma,  period  and  thin  space,  .0-484.  Runs  in  90 
channel  magazine.  L'ode  word,  IPVG. 


178 


GASLON  No.  3 


POINT 


HOW  IS  ONE  TO  ASSESS  AND  EVAL 
How  is  one  to  assess  and  evaluate  a  type  |  o  point 
face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  type?  What  do 
they  see  in  it?  Why  is  it  so  superlatively 
pleasant  to  their  eyes?  Good  design  is  al- 
ways practical  design.  And  what  they  see 

(jour  point  leaded) 

Matrix  Injonnaiion  ■  lSA-13.  Lower  case  nlpliabet.  2nO  p,.inl'^.  iMKure  1.  .l.^S^;  2  1o  0.  .16^,  Kuns  in  72  channel  ni;ma/iTic;  also 
lower  case  in  cap  cliaiinels  of  90  channel  maga/ine  with  caps  and  timires  in  34  cliannel  auxiliary  inai^'a/inc.  ! '>  pnint  aliRnnient. 
Code  word.  IPVX. 

HOW  IS  ONE  TO  ASSESS  AN 
How  is  one  to  assess  and  evalu-  24 
ate  a  face  of  type  in  terms  of  its 
esthetic  design?  Why  do  many 
pace-makers  in  the  art  of  print- 
ing rave  over  specific  type  faces? 
What  do  they  s  ($,.:^'?!fiflff  fiifii) 

ABCDEFGHIJKLMNOPORS 

TUVWXYZ&  1234567890 
abcdefghijklmnopqrstuvwxyz 

Matrix  I  utonnat'wn  :  2-IA175.  Lower  case  alplinhet.  ,147  pninls.  lituiri-  1.  ,  1  7')S ;  2  to  0,  ,jn7'.  Kiiiis  in  Wide  72  channel  m.ma- 
xiiie;  aKn  lower  case  in  cap  channels  oi  72  channel  niaK.i/me  with  caps  an.l  lijjnres  in  Wide  .l-I  channel  auxiliary  maga-'ine. 
Code  word.  irZA. 


179 


GASLON  No.  3 


HOW  IS  ONE  TO  ASSES 
^  Ho^v  can  one  evaluate  and 
assess  a  type  face  in  terms 
of  its  esthetic  design?  Why 
do  the  pace-makers  in  the 
art  of  printing  rave  over  a 
specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it 
so  pleasant  to  their  eyes? 
Good  design  1234567890 


(six  point  leaded^ 


ABCDEFGHIJKLM 
NOP0RSTUVWXYZ& 

abcdefghijklmnopqrst 
uvwxyz  ($.,:;'-'?!fiflff  ffiffl) 

matrix  Information:  30An3.  Lower  case  alphabet.  421  points.  Figure  1.  .2213;  2  to  0,  .249.  Runs  in  Wide  72  channel  magazine; 
also  Imver  case,  e.xcept  ui  and  \\ .  in  cap  channels  of  72  channel  luaga/iiie  with  caps  and  figures  in  Wide  34  channel  auxiliary 
masa/ine.  Code  word.  IRAC. 


180 


GASLON  No.  3-6  to  72  POINT-A-P-L 


72  Toiiit  Caslun  No.  J  (72AI008)  I.uwer  case  alphabet.  1075  points.  (  ..dc  wonl.  ZAI.IR 

A     IN 


Fine  bag  7 

60  Point  Caslon  No.  3  (60A1008)  Lower  case  alphabet,  886  points.  Cede  word.  ZALIK 

Crystal  is  on 
Sale  daily  46 

4,S  I'onit  Caslun  No.  3  (48A1008)  Lower  case  alphabet.  699  points,  (ode  word.  ZALID 

Lower  than  any 
price  since  1 923 

41  I'onit  Caslon  No.  3  (-tiAlOOSl  Lower  case  alphabet.  606  points.  Code  word.  Z.M.IIU 

Bargain  values  are 
Offered  for  5  days 

36  Toiiit  Caslon  No.  3  (36A100S)  Lower  case  alphabet,  3J0  points.  Cde  word.  Z.VLFI 

The  fashion  parade  is 
presented  at  8:30  p.m. 


(•"-LINOTYPE"") 

#  mi    ^ 


All-Pur  pose  Linotype  mat  rices  ore  also  avail- 
able in  6,  S,  10,  12,  14,  IS,  24  and  30  point  sizes 

181 


CASLON  No.  3  ITALIC 


HOW  IS  ONE  TO  ASSESS  AND  EV 
I  j;^  POINT  How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design  ?  Why 
do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  type  ?  What 
do  they  see  in  it  ?  Why  so  superlatively 
pleasant  to  their  eyes  ?  Good  design  is 
always  practical  design.  And  what  they 

(four  foi'Jf  Iradrd  ' 

Matrix  Itiformafion :  1SA215.  Lower  case  alphabet.  271  prtints.  Figure  1.  .1522;  2  to  0,  .1798.  Runs  in  72  channel  niagazine; 
also  lower  case  in  cap  channels  of  90  channel  magazine  with  caps  and  figures  in  34  channel  auxiliary  niaga?:ine.  19  point  align- 
ment. Code  word,  IRAT. 

HOW  IS  ONE  TO  ASSESS  A 
2^poiNT  Uq:^  i^  Q^^  fQ  assess  and  eval- 
uate a  type  face  in  terms  of  its 
esthetic  design?  Why  do  pace- 
makers in  the  printing  art  rave 
over  specific  type  faces  ?  What 
($,.:;'-'  fimffffifn)  1234567890 


(lour  poini  IcadeiD 


ABCDEFGHIJKLMNOPQR 

STUVWXYZ& 
abcdefghijklmnopqrstuvwxyz 

Matrix  Injormation:  24A177.  Lower  case  alphabet,  350  points.  Figure  1.  .1798;  2  to  0.  .2213.  Runs  in  Wide  72  channel  maga- 
zine; also  lower  case  in  cap  channels  of  72  channel  magazine  with  caps  and  figures  in  Wide  34  channel  auxiliary  magazine. 
Code  word.  IRBY. 


182 


CASLON  No.  3  ITALIC 


HOW  IS  ONE  TO  ASSES 
How  is  one  to  evaluate  and 
assess  a  type  face  in  terms 
of  its  esthetic  design  ?  Why 
do  the  pace-makers  in  the 
art  of  printing  rave  over  a 
specific  face  of  type  ?  What 
do  they  see  in  it  ?  Why  is  it 
so  pleasant  to  their  eyes? 
Good  desig  1234567890 


NT 


(sir  fo'mt  leaded) 


ABCDEFGHIJKLM 

NOP0RSTUVWXYZ& 

abcdefghijklmnopqrstuv 

wxyz  ($..:;'-' flfiflffffiffl) 

Matrix  luformatioii  3nAlI5.  Lower  case  alpliabet.  411  points.  Figure  I.  .2075;  2  to  0.  .249.  Runs  in  Wide  72  channe)  niaga/inf 
also  loutT  tasf.  extepl  lu.  ill  tap  tlianncls  uf  72  channel  niaKa/ine  with  caps  and  ti^ures  m  Wide  .U  clianntd  au.xiliary  niaga 
7ine.  Code  word.  IKCA. 


183 


CASLON  No.  3  ITALIC-6  to  72  POINT-A-P-L 


72  Point  Caslon  No.  3  Italic  (72AI009)  Lower  case  alphabet.  1033  points.  Code  word.  ZEHUV 

A    ■% 


#  % 


^  Big  type  4 

60  Point  Caslon  No.  3  Italic  (60A1009)  Lower  case  alphabet.  S39  points.  Code  word,  ZEHUN 

Camping  kit 
Has  3  handy 

48  Point  Caslon  No.  3  Italic  (-tSAlOOS)  Lower  case  alphabet.  676  points.  Code  word.  ZALOF 

Sport  dresses  of 
Crepe  in  size  1 8 

42  Point  Caslon  No.  3  Italic  (43A1009)  Lower  case  alphabet,  591  points.  Code  word.  ZALNU 

Gym  trunks  of  fine 
Satin  priced  at  $2 

36  Point  Caslon  No.  3  Italic  (36A1009)  Lower  case  alphabet.  493  points.  Code  word.  ZALMO 

Dinner  set.  65  pieces 
Saturday  only  $7.90 


All-Pur  pose  Linotype  matrices  are  also  avail- 
able in  6,  8, 10, 12, 14,  IS,  24  and  30  point  sizes 

184 


CASLON  BOLD  CONDENSED 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN 
TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MA 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  J  4 
esthetic  design?  Why  do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it 
so  superlatively  pleasant  to  their  eyes?  Good  design  is  always 
practical  design.  And  what  they  see  in  a  good  type  design  is, 
partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any 
good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to 


l/Ti'iJ  /I, .1/1/  l,aj,  (I ' 


ABCDEFGHIJKLMNOP0RSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyz  ($,.:;'-'?!fiflfff!iffl)  1234567890 

Maliiv  lujormation  :  14^117.  Lower  case  alphabet.  1'.9  points.  Figures.  .U'Jfi8;  tuiiiina.  period  and  thin  space,  .()4.S4.  Runs  in  yO 
channel  magazine.  Code  wurd.  ZAUIT. 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYP 
FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WH 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to 
their  eyes?  Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design  is,  partly,  its 
excellent  practical  fitness  to  perform  its  work.  It  has 
a  "heft"  and  balance  in  all  of  its  parts  just  1234567890 


I  lour  fi'ini  IrnJidl 


ABCDEFGfflJKLMNOP0RSTUVWXYZ& 
abcdefghijklmnopqrstuvwxyz  ($,.:;'-'?!fiflffffiffl) 

Matii.r  Information     ISAir.l.  I.nvver  case  alpliabet.  203  points.  Fiyiires.  .1107.  Kuns  in  •■n  d.annel  m.-iKazinc.   19  point  align- 
ment. (\nh-  vv<.rcl.  U'CY. 


POINT 


18 


POINT 


185 


GASLON  BOLD  CONDENSED 


HOW  IS  ONE  TO  ASSESS  AND  EVALUA 
2^poiNT  [jQ^ig  Q^Q  tQ  assess  and  evaluate  a  type  face 

in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over 
a  specific  face  of  type?  What  do  they  see  in 
it?  Why  is  it  so  superlatively  pleasant  to  their 

(fouy  point  leaded ) 

Matrix  Information:  24AI19.  Lower  case  alphabet,  250  points.  Figure  1,  .1245;  2  to  0,  .166.  Runs  in  72  channel  magazine;  also 
lower  case  in  cap  channels  of  90  channel  magazine  with  caps  and  figures  in  34  channel  auxiliary  magazine.  Code  word,  IPIC. 

HOW  IS  ONE  TO  ASSESS  AND  E 
30  °"'  jjq^  is  Qjjg  ^Q  assess  au(j  evaluate  a 

type  face  in  terms  of  its  esthetic  de- 
sign.^ Why  do  pace-makers  in  the  art 
of  printing  rave  over  a  specific  face 
of  type.>  What  do  they  see  ($,.:;'■'?!) 

(six  point  leaded) 

ABCDEFGHIJKLMNO 

PORSTUVWXYZ&  1234567890 

abcdefghijklmnopqrstuvwxyz 

Matrix-  Iiiiormation :  30A67.  Lower  case  alphabet,  306  points.  Figure  1,  .1522:  2  to  0,  .2075.  Runs  in  72  channel  magazine;  also 
cips  and  figures  in  34  channel  auxiliary  magazine.  Code  word,  ITIT. 


186 


CASLON  BOLD  CONDENSED 


HOW  IS  ONE  TO  ASSESS 
How  is  one  to  evaluate  and 
assess  a  type  face  in  terms  of 
its  esthetic  design?  Why  do 
the  pace-makers  in  the  art  of 
printing  rave  over  a  specific 
face  of  type?  What  do  they 
see  in  it?  Why  is  it  d,:;^-'?!) 


POINT 


(sir  point  leaded) 


ABCDEFGHIJK 

LMNOP0RSTUVWXYZ& 

abcdefghijklmnopqrstuvwx 

1234567890 

Matrix  Information:  3fiA14.1.  I,o\ver  case  alphabet.  390  points.  Figure  1.  .1798;  2  to  0.  ,249.  Runs  in  Wide  72  channel  magazine; 
also  lower  case  in  cap  channels  of  72  channel  magazine  with  caps  and  figures  in  Wide  .M  channel  au.viliary  magazine.  Code 
word.  ZENTT. 


187 


CASLON  BOT  D  CONDENSED-18  ^o  72  POINT-A-P-L 


72  Point  Caslon  Bold  Condensed  (72A1014)  Lower  case  alphabet,  816  points.  Code  word.  ZAMAC 

Mvory  chip  set 
In  a  gift  box  2 

60  Point  Caslon  Bold  Condensed  (60A1014)  Lower  case  alphabet,  654  points.  Code  word,  ZALZO 

Men's  gloves  are 
SeUing  for  $1.69 

48  Point  Caslon  Bold  Condensed  (48A1014)  Lower  case  alphabet.  519  points.  Code  word,  ZALVU 

Jersey  suit  has  a  neat 
Matching  hat  Size  18 

42  Point  Caslon  Bold  Condensed  (42A1014)  Lower  case  alphabet,  456  points.  Code  word.  ZALUZ 

Porch  sets  of  5  pieces  in 
Maple  are  $34.75  while 


All-Purpose  Linotype  matrices  are  also 
available  in  18,  24,  30  and  36  point  sizes 

188 


CASLON  BOLD  EXTRA  CONDENSED 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A 
TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DE-  24™' 
SIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE 
ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC 
FACE  OF  TYPE?  WHAT  DO  THEY  SEE  IN  IT? 
WHY  IS  IT  SO  SUPERLATIVELY  PLEASANT 
TO  THEIR  EYES?  GOOD  DESIGN  $1234567890 


NT 


/^,,n,l   Iru.lrJI 


ABCDEFGHIJKLMNOPORSTUVWXYZ& 

Matrix  htforniation  :  2Al\297.  Caps,  figures  and  puinls  only.  Figures.  .1107.  Kuns  in  90  cliannel  magazine.  2S  point  alij^nnient. 
Code  word,  ZATIL. 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A 
TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  30 
DESIGN?  WHY  DO  THE  PACE-MAKERS  IN 
THE  ART  OF  PRINTING  RAVE  OVER  SPE- 
CIFIC FACES  OF  TYPE?  WHAT  DO  THEY 
SEE  IN  THEM?  WHY  ARE  THEY  $12345« 


POINT 


/'..ill/  Irailnll 


ABCDEFGHIJKLMNOP0RSTUVWXYZ& 

Malri.T  Information:  30A219.  Ciips.  figures  and  puiiits  uiily.  Fisurcs.  .11(17.  Kims  in  9(1  tliamiel  inaKa/inc.  Code  word.  ZATIS. 


189 


CHART  OF  SIZE  RANGE 

Caslon  Bold  Family 


CASLON  No.  3 

5  If  you  print  enough  with  care  and  attention 

6  If  you  print  enough  with  care  and  att 

7  If  you  print  enough  with  care  and 

8  If  you  print  enough  with  care  a 

9  If  you  print  enough  with  car 

10  If  you  print  enough  with 
12  If  you  print  enough  v 
14  If  you  print  enoug 

18  If  you  print  e 

Jf  youprir 

Ifyoupr 

If  you  I 

If  yop 

If  y  OJ 

If  y  € 
lyn 


CASLON  No.  3  ITALIC 

5  //  you  print  i-nough  K'tth  care  and  attention 

6  If  you  print  enough  with  care  and  att 

7  //  you  print  enough  with  care  and 

8  //  you  print  enough  with  care  a 

9  If  you  print  enough  with  car 

10  //  you  print  enough  with 

12  //  you  print  enough  u 
14  //  you  print  enoug 

Aj  you  print  e 

Jfyouprit 

If  you  pr 

If  you t 

If  yop 
If  yo(^ 


CASLON  BOLD  with  ITALIC 

If  you  print  enough  with  care  and  at  5 
If  you  print  enough  with  care  and  6 


CASLON 
BOLD  CONDENSED 

If  you  print  enough  y 

If  you  print  enou 

If  you  print  en 

If  you  print 

If  you  pr 

If  you  p 

M  you  I 


APL 


If  ye  My  ot 

lyn  If  yo 


190 


THE 

HUDSON 
RIVER 
RAILROAD 

Along  the  bonks 
of  till'  beautiful 
Hudson  River 


SUMMER 
VACATIONS 

The  urge  to  save  is  an  inherent  American 
characteristic.  Since  the  early  days  of  this 
nation  we,  as  a  people,  have  constantly 
striven  toward  that  end.  First  we  shortened 
routes  for  horse-drawn  traffic,  and  lessened 
the  weeks  required  to  cross  the  continent. 
Then  came  the  railroad,  with  its  direct  lines 


Above:  Advertisement,  set  in  10  point 
Caslon  No.  3.  one  point  leaded.  Dis- 
play set  in  30  and  13  point  Caslon  No, 
3  caps,  with  10  point  Caslon  No.  3 
Italic. 


(LINOTYPE   0 


Below :'Td.%,  set  in  18  point  Caslon  Bold 
Condensed.  8  point  Caslon  No.  3  and 
72  point  Caslon  Bold  Condensed, 
A-P-L.  Decoration :  6  point  Border 
Matrices.  No.  102.  and  5  point  Ta- 
pered Dash,   Matrix  Slide  No.   955. 


Safety 


TR.4DE 


♦ 
MARK 


Comfort 


*M&A- 

MAY    &    ALLEN 
SOFT    COLLARS 


Extra  stitching  in  the 

band  prevents 

wrinkling 


Aviation  has  already  taken  its  place 
as  a  great  industry— and  is  unques- 
tionably the  fastest-growing  Indus- 
try of  all.  Almost  overnight  the 
United  States  has  awakened  to  the 
importance  of  aerial  transporta- 
tion; separate  manufacturers  of 
planes  and  engines  have  joined  in 
gigantic  industrial  combinations; 
output  has  doubled,  trebled,  quad- 
rupled .  .  .  and  the  demand  surges 
forward  faster  than  men  can  be 
found  to  operate  them. 

AGE  AEROPLANE  COMPANY 

♦  STURDY  CONSTRUCTION,  EASY  TO  HANDLE 


Above:  Mailing  card,  set  in  12  point  Caslon 
Xo.  3,  two  point  leaded;  24  and  6  point  Caslon 
No.  3  Italic,  and  12  point  Caslon  No.  3  caps. 
Decoration :  24  and  1 1  point  Playing  Card 
Characters  No.  135. 


SAIL 


Broad  reaches  and  steady 
breezes  to  delight  the  heart  of 
the  sailing  skipper.  Day  cruis- 
ing possibilities  without  limit 
for  the  yachtsman.  Not  only 
the  Chesapeake  for  his  play- 
grounds, but  also  the  York 
River,  the  James,  the  Rappa- 
hannock, the  Potomac,  Hamp- 
ton Roads  and  the  broad  At- 
lantic. As  a  center  for  sail 
boating,  Yorktown  is  perfect. 
There  is  no  finer  sail  boat 
than  the  "Anchor!' 


ANCHOR   SAIL   BOAT   CO. 

386  NORTH  SHORE  BOULEVARD 

PORTLAND,  MAI^T 


HOMER* 

•  TT/^^Jyi*ty  Tlrtc-^  ^^^  **"*>'  ^^  '^^  Homer 
rr  UTlCi  o  iJV^i  Piano  Accordion  an  in- 
strument of  tremendous  popularity  but  it  is  sur- 
prisingly easy  to  play.  No  years  of  study  and  prac- 
tice are  required  to  become  a  proficient  player,  and 
the  Instruction  Book  furnished  free  with  every 
Homer  instrument,  provides  a  simple  and  com- 
plete course  of  instruction. 

Homer  Piano  Accordions  are  widely  acclaimed 
for  their  beauty  of  tone,  mechanical  perfection 
and  ease  of  playing — so  look  for  the  Homer  name 
and  the  Homer  guarantee. 

I.  HOMER.  Inc.,  468  Queen  Street,  Toronto 
^ , 

I.  HOMER,  Inc.,  Dept.  SIP,  468  Queen  St 

Please  send  your  Piano  Accordion  Catalog. 


Name . 


Address       

City State 

Address  all  inquiries  to 
HOMER  &  COLE,  Ltd.,  468  Queen  Street.  Toronto 


Above:  Advertisement,  set  in  5 
and  6  point  Caslon  Bold ;  48  point 
Caslon  Bold  Condensed ;  5,  6  and 
13  point  Caslon  No.  3 


Below:  Label,  set  in  Z6.  24,  14 
and  12  point  Caslon  No.  3.  Dec- 
oration: Border  Matrices,  24 
point  No.   G-71. 


Above:  Advertisement,  set  in  10  point  Caslon  No.  3. 
two  point  leaded.  Display:  60  and  7  point  Caslon  No.  3 
Italic  caps  and  10  and  9  point  caps.  Decoration:  Ma- 
trix Slide.  8  point  No.  141. 

Below:  Shipping  label,  set  in  24  and  18  point  Caslon 
Bold  Condensed,  and  8  point  Caslon  No.  3.  Decoration: 
Border  Matrices,  6  point  No.  102;  Matrix  Slide.  36 
point  No.  7003, 


•     •     •     • 


For 


•  ••••••• 


ORANGE 

FRUIT  JUICE 


SOUTHWESTERN  FRUIT  CO. 

CALIFORNIA,  U.  S.  A. 


POSTMASTER:  Return  and  forwarding  postage  guaranteed 


LIBERTY  MANUFACTURING  CORP. 

500  LIBERTY  AVENUE  (corner  Main  Street),  LIBERTY,  NEW  YORK 


LINOTYPE 


CENTURY 

FAM I LY 


ABCDEFGH 


Csl 


AIlXSHbdO 


MERGENTHALER  LINOTYPE  COMPANY 

BROOKLYN,  NEW  YORK 

NEW  YORK  CITY,  CHICAGO,  SAN   FRANCISCO,  NEW  ORLEANS 

CANADIAN   LINOTYPE,  LIMITE  D,  TORONTO 

li'fprcseiitativcs  in  thi-  l'rincii>al  Citiin  iif  the  \V<irltl 


»LINOTYFE  CENTURY  EXPANDED « 

COMPARISON  OF  SIZES  with  ITALIC  and  SMALL  CAPS 

4  Point  Century  Expan.led  with  Gothic  No.  16  MA2)  Lower  case  alphabet.  7K  points.  Figures.  .0484 

HOW  IS  ONK  to  assess  and  evaluate  a  type  face  in  terms  of  its  estiietic  design?  Why  do  tlie  pace-makers  in  tlie  art  of  printing  rave  over  a  specitic  1234 
HOW  ts  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esttietic  design?  Why  do  ttie  pace-makers  in  ttie  art  of  printing  rave  over  a  specific  1234 

h  I'oint  (oA4-'l  Lower  case  alphabet.  95  points.  Figures.  .0484 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  ?  Why  do  the  pace-makers  in  the  art  of  pri  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of  pri  VBCD 

7  I'oint   (7ASSI  Lower  case  alphabet.  107  points.  Figures,  .0553 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  ?  Why  do  the  pace-makers  in  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  vbcd 

8  Point  (SA-6)  Lower  case  alphabet.  119  points.  Figures,  .063 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design^  Why  do  the  pace-  VBCD 

'.)  I'oint  (0A5X)  Lower  case  alphabet.  128  points.  Figures.  .0692 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  ?  Why  do  th  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  W)iy  do  th  VBCD 

in  Point  (lOAlfil  Lower  case  alphabet.  142  points.  Figures.  .077 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  ?  W  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  W  VBCD 

11  Point  (11A104)  Lower  case  alphabet,  149  points.  Figures,  .083 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  desig  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  desig  VBCD 

IJ  point  (12A--I  Lower  case  aliihabct.  162  points.  Figures.  .091 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  VBCD 

M  I'cinit   (14A^X>  Lower  case  alphabet.  194  points.  Figures.  .1037 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  vbcd 

1.^  I'.iint  (l.SA-1-11  Lower  case  alphabet.  2J,H  points.  Figures.  .1107 

HOW  IS  one  to  assess  and  evaluate  a  type  face  in  ter  12 
HOW  IS  one  to  assess  and  evaluate  a  type  face  in  ter  12 

1,K  Point  (18A12.')  Lower  case  alphabet.  229  points.  Figures,  .1107 

HOW  IS  one  to  assess  and  evaluate  a  type  face  in  ter  12 

24  I'l.int   (24A137)  Lower  rase  alphabet.  3110  points.   Figures.  .1522 

HOW  IS  one  to  assess  and  evaluate  a  ty  12 


-(,»«  LINOTYPE  "> 


LIST   OF   CHARACTERS   AVMLABLE    IN    TWO-LETTER    FONTS 

WITH    ITALIC    AND    SMALL   CAPS 

ABCDEFGHIJKLMNOPQRSTUVWXYZ 
ABCDEFGHIJKLMNOPQRSTUVWXYZ 

ABCDEFGHIJKLMNOPQRSTUVWXYZ 

12345  abcdefghijkhnnopqrstuvwxyz  67890 

VBCDE         abcdefghijklmnopqrstuvw.vyz         fgrtj 

,.:;?!(!)*''-  —  ^CElt)&£$...  fiflffffiffljEce 

,  .  S   ,•    .i*   .'  A  I  Q  0  '  ' ^  CE  ff)   N  £  P  L  .    .  .   /?  Y  #  W  M   K  H 

12345  Z&:()flffiffl$»ce  67890     ;   : 

12,345  V  &  :  (  )  fi  ffi  fjH  $  H'  w  67890      \   I 

Vs    1/4    %    1/2    %    %    yg      X  Z  &  ^  OC      @    %  1 1  §  n  -  [  ] 

ONE-LETTER    ITALIC    LOGOTYPES,  special  NO,  s 
/  ,fi  fl  of  aff  ef  eg  hf  if  iff  kf  If  mf  nf  of  off  pf  rf  sf  tf  uf  uff  yf  If  Of  Off 

ONE-LETTER    ITALIC,  special  no,  5  TRUE-CUT   SMALL   CAPS,  special  no,  S 

ahcdefghijkbnnopqrstuinvxyz  ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

Arnilahlr  in  ft.  7.  S  and  9  f»'"t  sizes  only 

TWO-LETTER    LOGOTYPES  ONE-LETTER    ITALIC    LOGOTYPES 

Ta  Te  To  Tr  Tu  Tw  Tv  Va  Ve  Vo  Wa  We  Wi  Wo  Wr  Ya  Ye  Yo  FA  PA  TA  VA  WA  YA  Th  Wh 

Ta  Te  To  Tr  Tu  Tw  Ty  T/r  Ve  Vo  Wn  We  Wi  Wo  Wr  Ya  Ye  Yo 


192 


»  LINOTYPE  CENTURY  EXPANDED « 


4  POINT  ivith  GOTHIC  NO.  16 


HOW  IS  ONE  TO  AS.SKSS  AND  EVALUATE  A  TYI'E  FACE  IN  TERMS  OF   MS  ESTHETIC  DESIGN?   WHY  DO  THE  PACE-.MAKEHS  IN  THE  ART  OF  I'ltlNT 
RAVE   OVER   A    Sl'ECIFIC   FACE   OF   TYPE?    WHAT   DO   THEY    SEE    IN    IT.'    WHY    IS   IT   SO  SUPERLATIVELY  PLEASANT  TO   THEIR  EYES?   GOOD  DESIG 


How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  <le- 
sigm?  Wiiy  do  the  paro-inalteis  in  the  art  of  printiiifj  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant 
to  their  eye>>?  Good  design  is  always  practical  design.  And  what  they 
see  in  a  fjood  type  desi-tii  is,  p;n  llv.  its  extollent  i<raclical  htness  l.>  per- 
form Its  work.  It  lias  a  "heff  and  halan.e  in  all  of  ils  paits  iusl  rij,'ht 
for  its  size,  as  any  Kood  to<d  has.  Vmir  t;o.ni  chair  has  all  ol  lt>^  parts 
made  nicely  to  the  njirht  si/c  In  do  exactly  the  work  that  the  chair  has  to 
do,  neither  clumsy  and  thick,  noi'  "skinny"  and  weak,  no  wasle  of  mate- 
rial and  no  lack  of  strencrth.  And,  heyond  that,  the  chair  may  have  heeii 
made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and  curves 
and  proportions:    it  may  \>v.  arliially.  a   wmK  ..f  ait.    Tin-  same  tluns  holds 

for  shapes  of  I.  I  ( .■  i        \  n.i  \ ^. '..■■.  f    i,  i  i  ,-i    .  , ,     i   i  r  u.    .k  i  ist  made 

it)  will  hav...    I..     ■■!.       .1      ■  ..  ..I    ;....i  ,      ...i  .      m.     i   ,        ,     .,  ...ee  to  he 

sat  in,  or  siaiM,.i  .1  ..I  i  ■..;.'.,■.  i  .,■■  i  ;  i.  ,i  ,  ,.i.,  ,.  ,,,  ,■...■,.,,  i,v  the  ex- 
perts   rave    o\  .■(      Ifi.'     Iir.'     -i:.i).r        .-l     i.ll,-i      ,     r,i|l      :\     \  .  ,  ,  i  ■      I  :  .    i   ■-,  |  ,  ;  ,  i  i  m     WllcrCin 

the  shapes  an.-  in.t*.  il  v.<,(  .-,!■,. u  i,,  r>-  nuiln-i  wiih  [\i.-  jr,r|M;r,\-  theories 
will  be  your  only  ansu<.i.  Hvie  is  a  Iheoiy  Uiat  thu  i-iopoiU'iU  Hunks  mav 
have  sense  in  it:  Fine  type  letters  were,  m  the  hi  si  place,  c-.pies  of  line 
written  letters.  Fine  written  letters  were  hne  l.e-ause  thev  woie  prodmed 
in  the  most  direct  and  simple  wav  hv  a  tool  m  the  hands  of  a  person  ex- 
pert in  its  use.  by  a  [jcrson.  ni.Mvovei.  u  hn  u.is  an  artist,  i.e.,  a  person 
ipped  to  : 

■      ■      "     ■  invented  wJm  furnished  the 

>v  printinKi  workint;  at  the 
!c  was  makinti  sound  jiidR- 
s  of  letters.  He  ha. I  rcsur- 
ng  and  had  added  to  it  the 
ef]  from   his  pen  easily  and 


The  ; 


St  of  that  niouient  wlu-n  prnitni 
fine  written  patterns  for  tv|..-  w;.s  dnr 
top  notch  of  a  fine  tradili-r,  ,,i  ,  .d,  i 
ments  about  lines  aiui  rur  ■  ■  j  ..., 
rected  an  ancient  distiir,  u  .  i  i  :, 
quality  of  his  own  line  t.i-i.'  Ih-  (.iii'i 
simply,  without  an\-  In.K-,  ,,j  ,iiu-,  i.ai.. 
He  was  simple  en-.u-i,  .,,1.1  .ndsl  enou^li  lo  let  the  implement  itself  land 
his  facile  handi  sh..[-  Hh  pMMurt.  The  tnio  .inalities  <.f  this  ailisfs  let- 
ter-forms were  cani-l  ..\..i  nilo  the  nu-t.il  types  and  sealed  up  there,  like 
butterflies  in  aml.ci  It  1-.  itLned.  howev.-r.  that  the  ascription  of  heautv 
to  type  letters  by  this  route  (i.e.,  via  the  st.nidards  of  calligraphvi  is  fals'e 
logic.  If  the  natural  and  simple  and  tastolullv  controlled  use  of  an  imple- 
ment produces  a  fine  result,  why  not  start  with  the  process  of  foundiiifj 
type  instead  of  with  the  process  of  writin;^  with  a  iien?  Why  not  cut 
punches  an<I  strike  matrices  an<l  cast  type  met;U  simply  and  naturally 
and  tastefully,  and  make  types  that  reflect  a  suitable  artistic  use  of  the 
process  of  typefoundin^'?  I  thmk  that  the  argument  is  esthetically  sound. 
There  is  no  romnum  opinion  about  the  let;ibilitv  or  izmro  or  vi-or  of  vari- 
How  IS  one  to  assess  and  evaluate  a  type  face  I'n  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see    in   it?  Why   is   it  so  superlatively  pleasant 


How  is  one  to  assess  and  evaluate  a  typo  face  in 
sijiTn?  Why  do  the  pace-makers  in  the  art  of  print 
face  of  tyj.e?  What  do  they  see  in  it?  Why  is  it  s 
to    their    eyes?    Good    design    is    always    practical 


ee  in  a  j;ood  type  desij^ii 
orm  its  work.  It  has  a  ' 
or  its  size,  as  any  j;ood  to( 
iiade  nicely  to  tlie  richt  si/-e 
in,  neither  dum.sy  and  thick, 
lal  and  no  lack  of  strength, 
natie  )>y  a  man  who  woi-kerl  < 
md  proportions:  it  may  be,  a 
or  shapes  of  letters.  And  voi 
(I  will   have. 


?rms  of  its  esthetic  de- 
ng  rave  over  a  specific 
superlatively  jilea^^ant 
lesign.    And    what    they 


nt  j.ractical  fitness  to  per- 
all  of  its  parts  just  riglit 
IS.  Vour  ijood  chair  has  all  of  its  parts 
lo  exactly  the  work  that  the  chair  has  to 
■  "skinny"  and  weak,  no  waste  of  mate- 
I.  beyond  that,  the  chair  may  have  been 
in  it  his  sense  of  line  shapes  and  cuives 
lly,  a  work  of  art.  The  same  thinjc  holds 
or  yom-  letter  (if  a  true  artist  made 


's  its  yood  looks,  a  suitability  to  the  nth  degn 
sat  m,  or  stamperl  on  paper  and  read.  That  explains,  in  a  way.  why  the  ex- 
perts rave  over  the  fine  shapes  of  letters:  hut  it  fails  to  explain  wheiein 
ttie  shapes  are  line.  If  you  seek  to  no  further  with  the  inquiry,  theories 
will  be  your  only  answer.  Here  is  a  theory  that  the  pro|)onent  thinks  may 
have  sense  in  it:  Fine  type  letters  were,  in  the  first  phice,  copies  of  fine 
written  loiters.  Fine  written  letters  were  hne  l>ecause  they  were  produced 
in  the  most  direct  and  simple  way  by  a  tool  in  the  hands  of  a  person  ex- 
pert in  its  use,  by  a  i^erson,  moreover,  who  was  an  artist,  i.e.,  a  person 
equipped  to  make  sound  Judgments  about  lines,  curves,  proportions,  etc. 
The  artist  of  that  moment  when  printint?  was  invented  who  furnished  the 
line  written  patterns  for  type  was  (luckily  for  printint^t  working  at  the 
top  notch  of  a  fine  tradition  of  calligraphy.  He  was  making  sound  judg- 
ments about  lines  and  curves  and  proportions  of  letters.  He  had  resur- 
rected an  ancient  distinguished  style  of  writing  and  had  added  to  it  the 
quality  of  his  own  fine  taste.  His  letters  flowed  from  his  pen  easily  and 
sinqdy,  without  any  tricks  or  affectations  or  extraneous  embellishments. 
He  was  simple  enough  ami  artist  enough  to  let  the  implement  itself  (and 
his  facile  hand)  shape  the  product.  The  fine  qualities  of  this  artist's  let- 
ter-forms were  carried  over  into  the  metal  types  and  sealed  up  there,  like 
butterflies  in  amber.  It  is  argue<l,  however,  tliat  the  ascription  of  beauty 
to  type  letters  by  this  rt)ute  (i.e.,  via  the  standards  of  calligraphy)  is  false 
logic.  If  the  natural  and  simple  and  tastefully  controlled  use  of  an  imple- 
lonr  point  leaded) 


Matrix  hifoiniation  . 
Code  w<.r.|.  ZEI'RU. 


4A--   I-ower  ca'^e  alpliabet.  78  points.   Figur 


.0277.  Runs  in  90  channel  magazine. 


-(LINOTYPE    O- 


6  POINT  ivith  ITALIC  and  small  caps 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE 
PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  OF  TYPE?  WHAT  DO  THEY  SEE  IN 


How  Ls  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its 
esthetic  design  ?  Why  do  the  pace-makers  in  the  art  of  print- 
inK  rave  over  a  specific  face  of  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  dcsifjn 
is  always  practical  dcsifju.  And  what  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fitness  to  perform  its 
work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  ritrht 
for  its  size,  as  any  pood  tool  has.  Your  pood  chair  has  all  of  its 
parts  made  nicely  to  the  ripht  size  to  do  exactly  the  work  that 
the  chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny" 
and  weak,  no  waste  of  material  and  no  lack  of  strength.  And, 
beyond  that,  the  chair  may  have  been  made  by  a  man  who 
worked  out  in  it  his  sense  of  fine  shapes  and  curves  and  pro- 
portions :  it  may  be,  actually,  a  work  of  art.  The  same  thinp 
holds  for  shapes  of  letters.  And  your  chair,  or  your  letter  (if  a 
true  artist  made  it)  will  have,  besides  its  good  looks,  a  suita- 
bility to  the  Hth  decree  to  be  sat  in,  or  stamped  on  paper 
and  read.  That  explains,  in  a  way,  why  the  experts  rave  over 
the  fine  shapes  of  letters  :  but  it  fails  to  explain  wherein  the 
shapes  are  fine.  If  you  seek  to  po  further  with  the  inquiry,  the- 
ories will  be  your  only  answer.  Here  is  a  theory  that  the  pro- 
ponent thinks  may  have  sense  in  it:  Fine  type  letters  were,  in 
the  first  place,  copies  of  fine  written  letters.  Fine  written  let- 
ters were  fine  because  they  were  produced  in  the  most  direct 
and  simple  way  by  a  tool  in  the  hands  of  a  person  expert  in  its 
I  s.'lidl 

The  same  fliirni  holds  for  shapts  of  Irltrrs.  Atid  your  rjiair.  or  your 
letter  (if  a  true  artist  made  il )  will  hare,  besides  ils  tiood  loolis.  n 
suitahilihi  lo  the  nth  deqree  lo  he  sat  in,  or  staniiied  ov  paper  and 
read.  That  explains,  in  a  aunt,   why  llie  experts  rtire  ort  r  the  Hne 

(dne-rettel    llalu  I 


How  I.s  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its 
esthetic  design?  Why  do  the  pace-makers  in  the  art  of  print- 
ing rave  over  a  specific  face  of  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design 
is  alirays  practical  desiyn.  And  what  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fitness  to  perform  its 
work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  j\ist  right 
for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its 
jiarts  made  nicely  to  the  right  size  to  do  exactly  the  work  that 
the  chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny" 
and  weak,  no  waste  of  material  and  no  lack  of  strength.  And, 
bey(md  that,  the  chair  may  have  been  made  by  a  man  who 
worked  out  in  it  his  sense  of  fine  shapes  and  curves  and  pro- 
I>ortions  :  it  may  be,  actually,  a  work  of  art.  The  same  thing 
holds  for  shapes  of  letters.  And  your  chair,  or  your  letter  (if  a 
true  artist  made  it)  will  have,  besides  its  good  looks,  a  suita- 
bility to  the  nth  degree  to  be  sat  in,  or  stamped  on  paper 
and  read.  That  explains,  in  a  way,  why  the  experts  rave  over 
the  fine  shapes  of  letters  ;  but  it  fails  to  explain  wherein  the 
shapes  are  fine.  If  you  seek  to  go  further  with  the  inquiry,  the- 
ories will  be  your  only  answer.  Here  is  a  theory  that  the  pro- 
piment  thinks  may  have  sense  in  it :  Fine  type  letters  were,  in 
the  first  jilace,  copies  of  fine  written  letters.  Fine  written  let- 
ters were  fine  because  they  were  produced  in  the  most  direct 
and  simple  way  by  a  tool  in  the  hands  of  a  person  expert  in  its 
use,  by  a  person,  moreover,  who  was  an  artist,  i.e.,  a  person 
equipped  to  make  sound  judgments  about  lini's,  curves,  pro- 
(aiu-  r-'int  leaded  I 


ABCDEFGH1.JKLMNOPQRSTUVWXYZ& 
ABCI)EFGHI.lKLMN(Jl'QnSTUVWXYZ& 

ABCtlEFUIII.IKLMNOiniKSTUVWXYZ& 

abcdefghijklmnopqr.stuvwxvzfiflfffllifll  ($X,.  :  ;'-' ?  !*tt§'')   12.345(!7X<)0 
ahcdefiihijklmnopqrstui'wxyzfiflffffiffl  ($£..::•-'?!   tJgW  I23i36rH!)n 


ONE-LETTER    ITALIC.  SPECIAL  NO.  5 

a  hedefqh  ijklm  n  opqrst  uvwxyz 


TRUE-CUT  SMALL  CAPS,  SPECIAL  KG.  5 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 


Matrix 
Code  \vi 


iillih.-ibct. 


FiKures.  .0-484 ;  < 


Runs  ill  *AI  chaiuiel  inag-i/ine. 


IRYJ, 


193 


»  LINOTYPE  CENTURY  EXPANDED « 


7  POINT  with  ITALIC  and  small  caps 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  W 
DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  OF  TYPE?  WH 


How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design  ?  Why  do  the  pace-makers  in  the 
art  of  printing-  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to 
their  eyes  ?  Good  design  is  always  practical  design.  And 
what  they  see  in  a  good  type  design  is,  partly,  its  ex- 
cellent practical  fitness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  exactly  the 
work  that  the  chair  has  to  do,  neither  clumsy  and  thick, 
nor  "skinny"  and  weak,  no  waste  of  material  and  no 
lack  of  strength.  And,  beyond  that,  the  chair  may  have 
been  made  by  a  man  who  worked  out  in  it  his  sense  of 
fine  shapes  and  curves  and  proportions:  it  may  be,  ac- 
tually, a  work  of  art.  The  same  thing  holds  for  shapes 
(solid) 

The  sa>ne  thing  holds  for  shapes  of  letters.  And  your  chair,  or 
your  letter  ( if  a  true  artist  made  it)  tvill  have,  besides  its  good 
looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped  on 
paper  and  read.  That  explains,  in  a  way,  why  the  experts  rave 

(Onc-Lcttcr  Italic) 


How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design  ?  Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to 
their  eyes?  Good  design  is  always  practical  design.  And 
what  they  see  in  a  good  type  design  is,  partly,  its  ex- 
cellent practical  fitness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  exactl.v  the 
work  that  the  chair  has  to  do,  neither  clumsy  and  thick, 
nor  "skinny"  and  weak,  no  waste  of  material  and  no 
lack  of  strength.  And,  beyond  that,  the  chair  may  have 
been  made  by  a  man  who  worked  out  in  it  his  sense  of 
fine  shapes  and  curves  and  proportions:  it  may  be,  ac- 
tually, a  work  of  art.  The  same  thing  holds  for  shapes 
of  letters.  And  your  chair,  or  your  letter  ( if  a  true  art- 
ist made  it)  will  have,  besides  its  good  looks,  a  suitabil- 
ity to  the  «th  degree  to  be  sat  in,  or  stamped  on  paper 

(one  point  leaded) 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ABCDEF0HIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflffffifll  ($£,.:;'-'?!  *ttSlI)  1234567890 
abedefghijklmnopqrstuvwxyzfiflffffiffl  ($£,.:;'-'?.'    ttSU;  123^567890 


ONE-LETTER    ITALIC,  SPECIAL  NO.  5 

abcdefghijklm.nopqrstuvwxyz 


TRUE-CUT  SMALL  CAPS,  SPECIAL  NO.  S 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 


Matrix  Information :  7AS8.  l.i 
Code  word.  IRZU. 


ver  case  alphabet,  107  points.  Figures,  .0553;  comma,  period  and  thin  space,  .0277.  Runs  in  90  channel  magazine. 


-(,  ,t LINOTYPE"  "> 


8  POINT  ivith  ITALIC  and  small  caps 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC 
DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPEC 

How  IS  ONE  to  assess  and  evaluate  a  type  face  in 
tei'ms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  desipn 
is  always  practical  design.  And  vyhat  they  see  in  a 
good  type  design  is,  partly,  its  excellent  practical 
fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  exactly 
the  w^ork  that  the  chair  has  to  do,  neither  clumsy 

(  solid  } 


The  sa.vie  thing  holds  for  shapes  of  letters.  And  your 
chair,  or  your  letter  (if  a  true  artist  made  if)  will  have, 
besides  its  good  looks,  a  siiifability  to  the  nth  degree  to 
be  sat  in,  or  stamped  on  paper  and  read.  That  explains, 

(One-Letter  Italic) 


How  IS  ONE  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  design 
is  always  practical  design.  And  what  they  see  in  a 
good  type  design  is,  partly,  its  excellent  practical 
fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  exactly 
the  work  that  the  chair  has  to  do,  neither  clumsy 
and  thick,  nor  "skinny"  and  weak,  no  waste  of  ma- 
terial and  no  lack  of  strength.  And,  beyond  that, 
the  chair  may  have  been  made  by  a  man  who 
worked  out  in  it  his  sense  of  fine  shapes  and  curves 

(one  point  leaded) 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflifffiffl  ($£,.:;'-'?  !*tt§11)  1234567890 
abcdefghijklmnopqrstuvwxyzfiflffffiffl  ($£,.:;'-'?!  HW  1234567890 


ONE-LETTER  ITALIC,  SPECIAL  NO.  5 


TRUE-CUT  SMALL  CAPS,  SPECIAL  NO.  5 


ahcdefghijklmnopqrstuvwxyz         ABCDEFGHIJKLMNOPQRSTUVWXYZ& 


Matrix  Injormation  :  8A26.  Lower  case  alphabet.  119  points.  Figures.  .063;  comi 
Code  word,  ISAD. 


la.  period  and  thin  space,  .0315.  Kuns  in  90  channel  magazine. 


194 


»  LINOTYPE  CENTURY  EXPANDED « 

9  POINT  with  ITALIC  and  SMALL  CAPS 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHE 
DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A 
How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing-  I'ave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it 
so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  practical  design..  And  vv^hat  they 
see  in  a  good  type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has  a 
"heff'and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair 
has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do, 
neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of  material  and  no  lack  of  strength. 
And,  beyond  that,  the  chair  may  have  been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine 
shapes  and  curves  and  proportions :  it  may  be,  actually,  a  work  of  art.  The  same  thing  holds  for 
shapes  of  letters.  And  your  chair,  or  your  letter  ( if  a  true  artist  made  it)  will  have,  besides  its 
good  looks,  a  suitability  to  the  wth  degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That  ex- 
plains, in  a  way,  why  the  experts  I'ave  over  the  fine  shapes  of  letters;  but  it  fails  to  explain 
wherein  the  shapes  are  fine.  If  you  seek  to  go  further  with  the  incjuiry,  theories  will  be  your 
only  answer.  Here  is  a  theory  that  the  proponent  thinks  may  have  sense  in  it:  Fine  type  letters 
were,  in  the  first  place,  copies  of  fine  written  letters.  Fine  written  letters  were  fine  because  they 
were  produced  in  the  most  direct  and  simple  way  by  a  tool  in  the  hands  of  a  person  expert  in  its 
use,  by  a  person,  moreover,  who  was  an  artist,  i.e.,  a  person  equipped  to  make  sound  judgments 
about  lines,  curves,  proportions,  etc.  The  artist  of  that  moment  when  printing  was  invented  who 
furnished  the  fine  written  patterns  for  type  was  ( luckily  for  ijrinting)  working  at  the  top  notch 
of  a  fine  tradition  of  calligraphy.  He  was  making  sound  judgments  about  lines  and  curves  and 
proportions  of  letters.  He  had  resurrected  an  ancient  distinguished  style  of  writing  and  had 

((l.'i.  foiiit  Icniird  I 

How  IS  ONE  to  assess  and  evaluate  a  type  face  How  is  ONE  to  assess  and  evaluate  a  type  face 
in  terms  of  its  esthetic  design?  Why  do  the  in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  a  pace-makers  in  the  art  of  printing  rave  over  a 
specific  face  of  type?  What  do  they  see  in  it?  specific  face  of  type?  What  do  thev  see  in  it? 
Why  is  It  so  superlatively  pleasant  to  their  ^^^  j^  -^  ^^  superlativelv  pleasant  to  their 
eyes^  Good  design  IS  always  practical  destgn.  o  /-.  j  j  •  ■  ;  .■  i  i  ■ 
And  what  thev  see  in  a  good  type  design  is,  7«^«  •  Gjwdclesig^i  is  always  practical  design. 
partlv,  its  excellent  practical  fitness  to  per-  ^^^^  ^^'^at  they  see  in  a  good  type  design  is, 
form  its  work.  It  has  a  "heff'and  balance  in  partly,  its  excellent  practical  fitness  to  per- 
all  of  its  parts  just  right  for  its  size,  as  any  form  its  woi'k.  It  has  a  "heff'and  balance  in 
good  tool  has.  Your  good  chair  has  all  of  its  all  of  its  parts  just  right  for  its  size,  as  any 
parts  made  nicely  to  the  right  size  to  do  ex-  good  tool  has.  Your  good  chair  has  all  of  its 
actly  the  work  that  the  chair  has  to  do,  neither  parts  made  nicely  to  the  right  size  to  do  ex- 
clumsy  and  thick,  nor  "skinny"  and  weak,  no  j^ctlv  the  work  that  the  chair  has  to  do,  neither 
waste  of  material  and  no  lack  of  strength.  ^.,^,j^^^^,  ^^^^  ^^ick.  nor  "skinnv"  and  weak,  no 
And,  beyond  that,  the  chair  may  have  been  ^^.^^^^  ^^  material   and   no  lack  of  strength. 

The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  letter  (if  a  true  artist  made  it)  icill 
have,  besides  its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That 
explains,  in  a  loay,  why  the  expeiis  rave  over  the  fine  shapes  of  letters:  but  it  fails  to  explain  ivherein  the 
shapes  are  fine.  If  you  seek  to  gofiuiher  ivith  fhe  inquiry,  theo)-ies  will  be  your  only  answer.  Here  is  a  the- 

lOiic-l.,-tt,-i   Itiilii) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ABCDEFGHLJKLMN()PQRSTUVWXYZ& 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfififfffiffl  (  $£,. : ;'-'?  !*ttS1 )  1234567890 

ahcdefghijklmnopqrstuvwxyzfififfffiffl  i  $£,.:;'-'?!   ft^'j)  123^567890 

ONE-LETTER    ITALIC.  SPECIAL  NO    5  TRUE-CUT   SMALL   CAPS.  SPECIAL   NO     5 

ahcdefghijkimnopqrstuvw.ryz         ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

Matrix  Infill  imilioH  ;  yA5S.  I.nwer  c;ise  .tIdIkiIu'I.  \M  punits.  Fislircs.  JM.'IJ;  coinin.i.  pencid  .mil  tluii  span-.  .DM',.  Kinis  iii  <«)  ih.iTiiiel  in;ig.;/iiie. 
Cule  w,.r,l.   ISAV. 


195 


»LINOTYPT^  CENTURY  EXPANDED  « 

10  POINT  luith  ITALIC  and  small  caps 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS 
ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTI 

How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  ?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in 
it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  ahvays  practical 
design.  And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent  practical  fitness 
to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size, 
as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to 
do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and 
weak,  no  waste  of  material  and  no  lack  of  strength.  And,  beyond  that,  the  chair  may 
have  been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and  curves  and 
proportions  :  it  may  be,  actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of  let- 
ters. And  your  chair,  or  your  letter  (if  a  true  artist  made  it)  will  have,  besides  its  good 
looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That 
explains,  in  a  way,  why  the  experts  rave  over  the  fine  shapes  of  letters ;  but  it  fails  to 
explain  wherein  the  shapes  are  fine.  If  you  seek  to  go  further  with  the  inquiry,  theories 
will  be  your  only  answer.  Here  is  a  theory  that  the  proponent  thinks  may  have  sense  in 
it :  Fine  type  letters  were,  in  the  first  place,  copies  of  fine  written  letters.  Fine  written 
letters  were  fine  because  they  were  produced  in  the  most  direct  and  simple  way  by  a  tool 
in  the  hands  of  a  person  expert  in  its  use,  by  a  person,  moreover,  who  was  an  artist,  i.e., 
a  person  equipped  to  make  sound  judgments  about  lines,  curves,  proportions,  etc.  The 
artist  of  that  moment  when  printing  was  invented  who  furnished  the  fine  written  pat- 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  ?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type  ?  What  do  they  see  in 
it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  practical 

(l7Vv  fj'iKl  leaded) 

How  IS  ONE  to  assess  and  evaluate  a  type  How  is  ONE  to  assess  and  evaluate  a  type 

face  in  terms  of  its  esthetic  design?  Why  face  in  terms  of  its  esthetic  design?  Why 

do  the  pace-makers  in  the  art  of  printing  do  the  pace-makers  in  the  art  of  printing 

rave  over  a  specific  face  of  type?  What  do  ^ave  over  a  specific  face  of  tvpe?  What  do 

they  see  m  it?  Why  is  it  so  superlativelv  ^^^^  .^^  j^^  j^,  ^^y  is  it  so" superlatively 

pleasant  to  their  eyes.'  Good  design  is  al-  ,           .  .     .1    •      '      o  /--      77-       •      1 

ways  practical  deign.  And  what  they  see  ^^^^^'^"^  ^^ .^^f ^^  ^^.^^  •  f^'f  t^'V'  ''  ^^■ 

in  a  good  type  design  is,  partly,  its  excel-  .""^'■'^^^  practical  design.  And  what  they  see 

lent  practical  fitness  to  perform  its  work,  i"  ^  ^^^^  type  design  is,  partly,  its  excel- 

It  has  a  "heft"  and  balance  in  all  of  its  lent  practical  fitness  to  perform  its  work, 

parts  just  right  for  its  size,  as  any  good  H  has  a  "heft"  and  balance  in  all  of  its 

tool  has.  Your  good  chair  has  all  of  its  parts  just  right  for  its  size,  as  any  good 

parts  made  nicely  to  the  right  size  to  do  tool  has.  Your  good  chair  has  all  of  its 

exactly  the  work  that  the  chair  has  to  parts  made  nicely  to  the  right  size  to  do 

do,  neither  clumsy  and  thick,  nor  "skinny"  exactly  the  work  that  the  chair  has  to 

and  weak,  no  waste  of  material  and  no  lack  ,,„„.  ,,„„„  leadrdi 

(solid) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ABCDEFG  HIJKLMNOPQRST  U  V  WX  YZ& 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflffffiffi  {$£,.:;'-'?  !*fj§^)  1234567890 

abcdefghijklmnopqrstuvwxyzfiflfffjiffi  ($£,.:;'-'?!  \tlv  123Jf567890 

Matrix  Infornuition :  lOAU).  Lower  case  alphaliet.  142  points.  Figures,  .U77;  comma,  period  and  thin  space.  .0385.  Runs  in  90  channel  magazine. 
Code  word.  ISBU. 


196 


»  LINOTYPE  CENTURY  EXPANDED « 

11  POINT  with  ITALIC  and  small  caps 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF 
ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF 

How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  estlietic  design?  Why 
do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do 
they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  al- 
ways practical  design.  And  what  they  see  in  a  good  type  design  is,  partly,  its  excel- 
lent practical  fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its 
parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts 
made  nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither 
clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of  material  and  no  lack  of 
strength.  And,  beyond  that,  the  chair  may  have  been  made  by  a  man  who  worked 
out  in  it  his  sense  of  fine  shapes  and  curves  and  proportions :  it  may  be,  actually,  a 
v/ork  of  art.  The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  let- 
ter ( if  a  true  artist  made  it  I  will  have,  besides  its  good  looks,  a  suitability  to  the  nth 
degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That  explains,  in  a  way,  why  the 
experts  rave  over  the  fine  shapes  of  letters ;  but  it  fails  to  explain  wherein  the 
shapes  are  fine.  If  you  seek  to  go  further  with  the  inquiry,  theories  will  be  your  only 
answer.  Here  is  a  theory  that  the  proponent  thinks  may  have  sense  in  it :  Fine  type 
letters  were,  in  the  first  place,  copies  of  fine  written  letters.  Fine  written  letters 
How  is  0)ie  to  assess  and  evaluate  a  type  face  i)i  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do 
they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  al- 

How  IS  ONE  to  assess  and  evaluate  a  type  How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design  ?  Why  face  in  terms  of  its  esthetic  design  ?  Why 
do  the  pace-makers  in  the  art  of  printing  do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  type?  What  i-^ve  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superla-  ^o  they  see  in  it?  Why  is  it  so  superla- 
tively pleasant  to  their  eyes?  Good  de-  ^j^^j  '  le^s^nt  to  their  eyes?  Good  de- 
siqn  is  alioays  practical  dcsuin.  And  .  •'.^  ,  ^-  f  i  ■  a  i 
what  they  see  in  a  good  type  design  is,  'T\  ?i  '  '"'^'  ^'''"^"f,  "^''T- 
partly,  its  excellent  practical  fitness  to  ^hat  they  see  m  a  good  type  design  is, 
perfo"rmitswork.Ithasa"heft"andbal-  P-i^'tlV'  its  excellent  practical  fitness  to 
ance  in  all  of  its  parts  just  right  for  its  perform  its  work.  It  has  a  "heft"  and  bal- 
size,  as  any  good  tool  has.  Your  good  ance  in  all  of  its  parts  just  right  for  its 
chair  has  all  of  its  parts  made  nicely  to  size,  as  any  good  tool  has.  Your  good 
the  right  size  to  do  exactly  the  work  that  chair  has  all  of  its  parts  made  nicely  to 
the  chair  has  to  do,  neither  clumsy  and  the  right  size  to  do  exactly  the  work  that 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflffffiffl  ($£,.:;'-'?!*;  a^I'  )  1234567890 
abcdefgh ijklnDiopqrstn vwxyzfitiffffifft  ( $£,. : ;'-' ? !  t :j: l\\)  1 23. '^56 7890 

Miiliil  hlUniuati.ni  llAHM.  I...url  i  .is,-  .1  li.li.ilicl  .  I-)'<  points,  Kikiucs.  .(is.i.  ..innu.i.  pilM.l  .111. i  llllii  sp.u,-.  .(WIS.  Kiin>  ill  '.'II  <ll.Mm<-l  masa- 
/illf,   Inile  wc.Kl.   ISCI. 


197 


»  LINOTYPE  CENTURY  EXPANDED « 

12  POINT  with  ITALIC  mid  SMALL  CAPS 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERM 
OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE 
How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  pi^actical  design.  And  what  they  see  in  a  good 
type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its  work.  It 
has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good 
tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to 
do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor 
"skinny"  and  weak,  no  waste  of  material  and  no  lack  of  strength.  And,  be- 
yond that,  the  chair  may  have  been  made  by  a  man  who  worked  out  in  it  his 
sense  of  fine  shapes  and  curves  and  proportions :  it  may  be,  actually,  a  work 
of  art.  The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or  your 
letter  (if  a  true  artist  made  it)  will  have,  besides  its  good  looks,  a  suitability 
to  the  nth.  degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That  explains, 
in  a  way,  why  the  experts  rave  over  the  fine  shapes  of  letters ;  but  it  fails  to 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their 

(two  point  leaded) 

How  IS  ONE  to  assess  and  evaluate  a  How  is  one  to  assess  and  evaluate  a 
type  face  in  terms  of  its  esthetic  de-  type  face  in  terms  of  its  esthetic  de- 
sign ?  Why  do  the  pace-makers  in  the  sign  ?  Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  m  it?  f^ce  of  type?  What  do  they  see  in  it? 
Why  IS  It  so  superlatively  pleasant  to  ^^  -^  •[  ^^  superlatively  pleasant  to 
their  eyes?  Good  design  is  always  ^^^^  ,  ^'^^^  design  is  always 
practical  design.  And  what  they  see  j.-  i  i  •  a  ^  ^  t  rx. 
in  a  good  type  design  is,  partly,  its  r'''^^caMes^gn  And  what  they  see 
excellent  practical  fitness  to  perform  i"  ^  goo^^  type  design  is,  partly,  its 
its  work.  It  has  a  "heft"  and  balance  excellent  practical  fitness  to  perform 
in  all  of  its  parts  just  right  for  its  its  work.  It  has  a  "heft"  and  balance 
size,  as  any  good  tool  has.  Your  good  in  all  of  its  parts  just  right  for  its 

(solid)  lo,,e  Ix.inl  leaded) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflffflafl:!  ($£,. : ;'-'?  !*t$§l|)  1234567890 
abcdefghijklmnopqrstuvwxyzfififftiiffi  ($£,.:;'-?!  t$§i|)  1231^567890 

Small  Cap  f-iijuies 

HH1234567890HH 

Matrix  Information:  \2/\22.  Lower  case  alphabet.  162  points.  Figures,  .(191  ;  cuiiiiiia.  period  and  thin  space.  .0455.  Runs  in  90  channel  magazine. 
Code  word.  I.SCY. 


198 


»  LINOTYPE  CENTURY  EXPANDED « 

14  POINT  laitll  ITALIC  and  SMALL  CAPS 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE 
IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PAC 

How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its 
esthetic  design?  Why  do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it 
so  superlatively  pleasant  to  their  eyes?  Good  design  is  always 
practical  design.  And  what  they  see  in  a  good  type  design  is, 
partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has  a 
*'heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any 
good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to 
the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do, 
neither  clumsy  and  thick,  nor  ''skinny"  and  weak,  no  waste  of 
material  and  no  lack  of  strength.  And,  beyond  that,  the  chair 
may  have  been  made  by  a  man  who  worked  out  in  it  his  sense  of 
Hoiv  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its 
esthetic  design?  Why  do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it 

How  IS  ONE  to  assess  and  evalu-  How  is  one  to  assess  and  evalu- 
ate a  type  face  in  terms  of  its  ate  a  type  face  in  terms  of  its 
esthetic  design?  Why  do  the  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  print-  pace-makers  in  the  art  of  print- 
ing rave  over  a  specific  face  of  j^g  rave  over  a  specific  face  of 
type?  What  do  they  see  m  it?  ^vpe?  What  do  they  see  in  it? 
Why  is  It  so  superlatively  pleas-  ^^  -^  -^  ^^  superlatively  pleas- 
ant to  their  eyes?  Gooc^d..s^^7i  is  ant  to  their  eyes?  Gooddesignis 
always  practical  design.  And  ,  ^-  /  ^  •  a  j 
what  they  see  in  a  good  type  ^^^^yivractical  design  And 
design  is,  partly,  its  excellent  ^^at  they  see  m  a  good  type 
practical  fitness  to  perform  its  ^^^sign  is,  partly,  its  excellent 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflffffifil  ($£,.: ;'-'?!*tt§ll)  123456 
abcdefghijklmriopqrstuvivxyznAtfffiffl  ($£,.:;'-'?!  t$§ll^  123456 


Mntii.v  hil.'niuitii-ii      I-IA^'X     l.cnviT  i  asc  .iIiiIkiIu-I  .    \'>4  p.iints.    Fimirci.   .I(H7:  .■.niinia.   pi-nod  aii.l  tliiii  sp: 
zine.  ("<idc  w..nl.  ISDA, 


199 


»LINOTYPL  CENTURY  EXPANDED « 

18  POINT  TWO-LETTER  (with  Italic) 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to 
their  eyes?  Good  design  is  always  practical  design.  And 
what  they  see  in  a  good  type  design  is,  partly,  its  ex- 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  of  type?  What 

(two  Point  leaded) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdef  ghi  jklmnopqrstuvwxyzfiflff  fRffl  ($,. :;-"?!)  123456 
abcdefghijklmnopqrstuvwxyzfiflfffiffli  $,.:;-"?!)  123456 

Mat  I  it-  hiliiiiinitioii     1SA44.  Lower  case  alphaiiet.  22X  poiiils.   [•'inures.  .1  1(17,   Runs  in  yd  tliaunel  niagn/ine.  Cede  word,  ZICZI. 

C»»cLINOTYPE"") 

18  POINT 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to 
their  eyes?  Good  design  is  always  practical  design.  And 
what  they  see  in  a  good  type  design  is,  partly,  its  ex- 
cellent practical  fitness  to  perform  its  work.  It  has  a 
''heft"  and  balance  in  all  of  its  parts  just  right  for  its 

(t7v<'  pi'int  leaded) 

Matrix  Infontiation :  I8A1.^3.  Lower  case  alphabet.  229  puiiits.  Figures,  .1107.  Runs  in  'H)  rhannel  magazine.  Code  wurd.  ISEF.  Also  available 
in  two-letter  matrices  as  Century  Bold  with  Century  Expanded  (18A60).  Code  word.  /IFVK. 


200 


»  LINOTYPE  CENTURY  EXPANDED « 

24  POINT 

HOW  IS  ONE  TO  ASSESS  AND  EVALU 

How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  type?  What  do 
they  see  in  it?  Why  is  it  so  superlatively 
pleasant  to  their  eyes?  Good  design  is  al- 
ways practical  design.  And  what  they  see 
in  a  good  type  design  is,  partly,  its  excel- 
lent practical  fitness  to  perform  its  work. 
It  has  a  ''heft''  and  balance  in  all  of  its  parts 
just  right  for  its  size,  as  any  good  tool  has. 
Your  good  chair  has  all  of  its  parts  made 
nicely  to  the  correct  size  to  do  exactly  the 
work  that  this  fine  chair  has  to  do,  neither 
clumsy  and  thick,  nor  ''skinny''  and  weak, 
no  waste  of  material  and  no  deficiency  in 
strength.  An  ($,.:;'-'?!fififf*ffiffl)  1234567890 


(/;<•,.  /',.ni/  h;ul,  ,1  I 


ABCDEFGHIJKLMNOPQRSTUVWXY 

abcdefghijklmnopqrstuvwxyz 

Miltri.r   hilormofi.nt     -MAI  '/■    I,"wi-r   ci-.,-  .ilpli.ilii-t.   Mm  i.i.nil-..    iMKiirt-s.     l',.'-'     Runs   in    7J  ,li.inii<-l   iii.m.i/nic :    .lU..   l(.u,-i    i.i-.c.   exi-ept   in   .-iTul 
w,  ill  c:n<  ili.uiiicK  "f  'Xl  (h.iniu-l  iii.iK.i/im-  vmiIi  '  ■tP'-  -""i  liuuii's  hi  .1-1  <-liaiiii<-l  Mii\ili.iry  iiiai;.i/iiic   C.iii-  wnrd.    ISFK. 


201 


»  LINOTYPE  CENTURY  EXPANDED « 

COMPARISON  OF  SIZES  ivith  CENTURY  BOLD 

6  Point  (OAW)  Lower  case  alphabet,  95  points.  FiKiires,  .0484 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PA 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  ?  Why  do  the  pace-makers  in  the  art  of  prin  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of  p  1234 

7  Point  (7A80)  Power  case  alpliahet.  lin  points.  Figures.  .USS3 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  ?  Why  do  the  pace-makers  in  t  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  1234 

8  Piiint  (8A122)  Power  case  alplial)et.  119  points.  Fisjures.  .062-' 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESI 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  ?  Why  do  the  pace-ma  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-  1234 

9  Point  (9A72)  I. ewer  case  alpliabet.  133  points.  Figilres,  .0692 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETI 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  ?  Why  do  the  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  1234 

10  Point  (10A112)  Power  case  alpliahet.  142  points.  Fifiures.  .0761 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  EST 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  ?  Why  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  W  1234 

U  Point  (11A70)  Power  case  alphabet.  152  points.  Fittures,  .0761 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  IT 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  ?  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  desig  1234 

12  Point  (12A6-41  Power  case  alpliahet.  164  points.  Fi.?ures.  .083 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  des  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  1234 

14  Point  (14A20)  Power  case  alphabet.  194  points.  Pisures.  .0968 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  1234 

LIST   OF   CHARACTERS   AVAILABLE    IN   TWO-LETTER    FONTS 

ABCDEFGHIJKLMNOPQRSTUVWXYZ 
ABCDEFGHIJKLMNOPQRSTUVWXYZ 

12345       abcdefghijk'mnopqrstuvwxyz       67890 
12345       abcdefghijklmnopqrstuvwxyz       67890 


?  !  ( 
?  !  ( 


)  *  "._^CE  It)  &£$  .  ..           fiflffffiffljece 

)*"._iE(EIb&£$  ...fiflffffifflffioe 

1/8  V-i  %  V2  %  %  %            @  %  t  t  §  II  -  [  ] 

Vs  V4  %  Vi  %  %  %        @  %  1 1  §  U  -  [  ] 

C,  .c LINOTYPE"   ) 


COMPARISON  OF  SIZES  with  CENTURY  BOLD  ITALIC 

10  Point  I10A226I  Lower  case  alpliahet,  147  points.  Figures.  .0761 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  1234 

\2  Point   (12A166)  Power  case  alphahet.  170  points.  Figures.  .0.'(3 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthet  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthet  1234 

14  Point    (14Al'l2l  Power  case  alphahet.  202  points.   Fignres.  .096.8 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  1234 


202 


»  LINOTYPE  CENTURY  EXPANDED « 


6  POINT  ivith  CENTURY  BOLD 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PA 
MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  OF  TYPE?  WHAT  DO  THEY  SEE  IN  IT?  WHY 


How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its 
esthetic  design  ?  Why  do  the  jjace-makers  in  the  art  of  print- 
ing rave  over  a  specific  face  of  type  ?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  to  their  eyes  ?  Good  design 
is  always  practical  design.  And  what  they  see  in  a  good  type 
design  is.  partly,  its  excellent  practical  fitness  to  perform  its 
work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right 
for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  exactly  the  work  that 
the  chair  has  to  do.  neither  clumsy  and  thick,  nor  "skinny" 
and  weak,  no  waste  of  material  and  no  lack  of  strength.  And, 
beyond  that,  the  chair  may  have  been  made  by  a  man  who 
worked  out  in  it  his  sense  of  fine  shapes  and  curves  and  pro- 
How  is  one  to  assess  and  evaluate  a  type  face  In  terms  of  its 
esthetic  design?  Why  do  the  pace-makers  in  the  art  of  print- 
ing rave  over  a  specific  face  of  type?  What  do  they  see  in  it? 


(S.dlJl 


Matri 
Code  ' 


InlonuaH 
i.rd,   ISCI 


i.A'H,    1.^ 


alpliahet.  ^i'r^  pniiits,    l'"iKiire 


How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its 
esthetic  design  ?  Why  do  the  pace-makers  in  the  art  of  print- 
ing rave  over  a  specific  face  of  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design 
is  always  practical  design.  And  what  they  see  in  a  good  type 
design  is.  partly,  its  excellent  practical  fitness  to  perform  its 
work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right 
for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  exactly  the  work  that 
the  chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny" 
and  weak,  no  waste  of  material  and  no  lack  of  strength.  And, 
beyond  that,  the  chair  may  have  been  made  by  a  man  who 
worked  out  in  it  his  sense  of  fine  shapes  and  curves  and  pro- 
portions :  it  may  be,  actually,  a  work  of  art.  The  same  thing 
( intc  f'cint  !t'(idi-il  I 

(4;  romnia.  perind  ami  tliiii  space.  .()J77.    Kuns  in  ^0  channel  inaga/ine. 


-{"LINOTYPE'    )- 


7  POINT  Ivith  CENTURY  BOLD 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY 
DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  OF  TYPE?  WHAT 


How  is  one  to  assess  and  evaluate  a  tyjje  face  in  terms 
of  its  esthetic  design  ?  Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  of  type  ?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant 
to  their  eyes?  Good  desisn  is  always  practical  design. 
And  what  tho.v  see  in  a  good  type  design  is,  partly,  its 
excellent  practical  fitness  to  jierforni  its  work.  It  has 
a  "heft"  and  balance  in  all  of  its  parts  just  right  for 
its  size,  as  any  good  tool  has.  Your  good  chair  has  all 
of  its  parts  made  nicely  to  the  right  size  to  do  exactly 
the  work  that  the  chair  has  to  do,  neither  clumsy  and 
thick,  nor  "skinny"  and  weak,  no  waste  of  material 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  of  type?  What 


Matrix 
Code  wr 


.ilpli.iliet.  1 1(1  pnints,  FiHiiri 


How  is  one  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design  ?  Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  of  type  ?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant 
to  their  eyes?  Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design  is,  partly,  its 
excellent  practical  fitness  to  perform  its  work.  It  has 
a  "heft"  and  balance  in  all  of  its  parts  just  right  for 
its  size,  as  any  good  tool  has.  Your  good  chair  has  all 
of  its  parts  made  nicely  to  the  right  size  to  do  exactly 
the  work  that  the  chair  has  to  do,  neither  clumsy  and 
thick,  nor  "skinny"  and  weak,  no  waste  of  material 
and  no  lack  of  strength.  And,  beyond  that,  the  chair 

(eiic-  /Jiioi/  U-adcd) 
^^:  nimiii.!,  pericid  and  lliui  spart.,    n '77    Knn^  in  ''11  i  hannel  magazine. 


-{re  LINOTYPE "")- 


8  POINT  ivith  CENTURY  BOLD 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESI 
WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  OF 


How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  desip:n?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  type  ?  What  do  they  see  in  it  ?  Why  is  it  so 
superlatively  pleasant  to  their  eyes  ?  Good  design 
is  always  practical  desinn.  And  what  they  see  in  a 
good  type  design  is,  partly,  its  excellent  practical 
fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  light  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  exactly 
How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 


How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  I'ave  over  a  specific 
face  of  type  ?  What  do  they  see  in  it  ?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  design 
is  always  practical  design.  And  what  they  see  in  a 
good  tyjie  design  is,  partly,  its  excellent  practical 
fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its 
liarts  made  nicely  to  the  right  size  to  do  exactly 
the  work  that  the  chair  has  to  do,  neither  cliunsy 
and  thick,  nor  "skinny"  and  weak,  no  waste  of  ma- 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqi-stuvwxvzfiflft'ffiffl  ($£,.:;'-'?  l^ftSTI)  Il2;!45(i7890 
abcdefghijklmnopqrstuvwxyzfiflfffliffl  ($£,.:;'-'?  !*t1:§TI)  1231567890 


Matiix  Inltirnialion  :  .SA1-- 
7ine,  Co.le  word.   ISlX 


alpll.d.el.    ll'J  punits.    I'lKUlc 


period  and  tliin 


>Mi.   Runs  in  90  channel  tnag.i- 


203 


»  LINOTYPE  CENTURY  EXPANDED « 

9  POINT  ivith  CENTURY  BOLD 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETI 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  to  their  eyes  ?  Good  design  is  always  practical  design.  And 
what  they  see  in  a  good  type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its 
work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has. 
Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly  the  work  that 
the  chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of  material 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in  it? 

(two  point  leaded ) 
Matrix  hijormation  :  9A72.  Lower  case  alphabet,  133  pt)ints.  Figures,  ,0692;  coninia.  perind  and  thin  space,  .0346.  Runs  in  90  channel  magazine. 
Code  word.  IS.Tl' 


C  "LINOTYPE     ) 

10  POINT  with  CENTURY  BOLD 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  EST 
Hovf  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  ?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type  ?  What  do  they  see  in 
it  ?  Why  is  it  so  superlatively  pleasant  to  their  eyes  ?  Good  design  is  always  practical  de- 
sign. And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent  practical  fitness  to 
perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do 
exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in 

(two  point  leaded) 
Matrix  Information     lOAl  1-.  Lower  case  alphaliet.  \42  points.   Figures.  .0761  ;  Loinnia.  period  and  tliin  space.  .038.  Runs  in  90  channel  inaga- 


-(      LINOTYPE  >^«> 


11  POINT  Ivith  CENTURY  BOLD 
HOW  IS  ONE  TO  ASSESS  AND  EVi^LUATE  A  TYPE  FACE  IN  TERMS  OF  IT 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  ?  Why 
do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is 
always  practical  design.  And  what  they  see  in  a  good  type  design  is,  partly,  its 
excellent  practical  fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of 
its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do, 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What 

((;iio  point  leaded! 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflffffiffl  ($£,.:;'-'?  !*t:i: $511)  1234567890 
abcdefghijklmnopqrstuvwxyzfiflffffiffl  ($£,.:;'-'?  !*tt§ll)  1234567890 

Matrix  Injormatiou  :  11A70.  L.iwer  lase  alphaliet.  I5J  iJuinli.  Fikuics.  .11761  :  t(.iiiiiia.  period  ami  thill  space.  MM.  Runs  ill  VO  thaiiiiel  magazine. 
Code  word.  ISOH. 


204 


»  LINOTYPE  CENTURY  EXPANDED « 

12  POINT  with  CENTURY  BOLD 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design.  And  what  they  see  in  a  good 
type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its  work.  It 
has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good 
tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to 
do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor 
"skinny"  and  weak,  no  waste  of  material  and  no  lack  of  strength.  And,  be- 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of 

(nvn  point  leaded) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflff'ffiffl  ($£,. : ;'-'  ?  !*t$§11)  1234567890 
abcdefghijklmnopqrstuvwxyzfiflffffiffl  ($£,.:  ;'-'?!n:j:§lJ)  1234567890 

Matrix  hiimmatuni  l_'A'i-l.  I.^vver  uim-  alpliaiit'l.  l'i-4  pciuK  Imini's,  liy!;  ...niiiia.  pt-ricil  and  lliiii  sp.iif.  .(Mir.,  Uniis  in  'JO  Lhannfl  inaKa- 
zine.  C-.iile  wi>r(l.  ISOZ. 


-{LINOTYPE    0- 


14  POINT  ivith  CENTURY  BOLD 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its 
esthetic  design?  Why  do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it 
so  superlatively  pleasant  to  their  eyes?  Good  design  is  always 
practical  design.  And  what  they  see  in  a  good  type  design  is, 
partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any 
good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its 
esthetic  design?  Why  do  the  pace-makers  in  the  art  of  printing 

It-.Vo   t.'liil    I,  ,1,1,  ,11 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflfffRffl  (P,.:;'-'?!nt§lI)  1234567 
abcdefghijklmnopqrstuvwxyzfiflflfffiffl  ($£,.:;'-7!'t$§^)  1234567 

M<llnr    lnl,nl,t,lli,,„       U/\JI1.     I.iucl    .av,-   al|.lial.,-I .    I'M    i.miiiIs.     Imkui.-.     I1'«..S:   i ua.    1„-m.m1   a. 1.1    linn    s|.a,c-.     II4.M      l^uis    ,„    ■«,   ,  hai 1    niata 

zinc.  I'uiie  woiai.  ISUI!. 


205 


»LINOTYPS  CENTURY  EXPANDED « 

COMPARISON  OF  SIZES  ivith  CHELTENHAM  BOLD 

6  Point  (6A1721  Lmver  case  alpliabet.  99  points.  Figures.  .0553 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of  print- 
ing rave  over  a  specific  face  of  type  ?  What  do  they  see  in  it  ?  Why  is  it  so  superlativelv  pleasant  to  their  eyes  ?  Good  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  ?  Why  do  the  pace-makers  in  the  art  of  print- 
ing rave  over  a  specific  face  of  type  ?  What  do  they  see  in  it  ?  Why  is  it  so  superlatively  pleasant  to  their  eyes  ?  Good  1234 

S  Point  (8A254)  Lower  case  alphabet.  121  points.  Fiijures.  .0692 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DES 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers 
in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so  super  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DES 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers 
in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so  super  1234 

10  Point  (10A208I  l.ouer  case  alphabet.  150  points.  I-'iKures.  .08.! 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  E 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  ?  Why  do 
the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  E 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  ?  Why  do 
the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  1234 

IJ  point   (IJAl-till  Lower  case  alpliabet.  16-1  points.  Figures.  ,0899 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  1234 

H  I'ouil    lUAK'il  Lower  case  alphabet.  197  points.  Figures.  .1107 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FAC 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its 
esthetic  design?  Why  do  the  pace-makers  in  the  art  of  print  1234 
HOW^  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FAC 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its 
esthetic  design?  Why  do  the  pace-makers  in  the  art  of  print  1234 

(moi  LINOTYPE"") 


LIST   OF   CHARACTERS   AVAILABLE    IN   TWO-LETTER    FONTS 

ABCDEFGHIJKLMNOPQRSTUVWXYZ 
ABCDEFGHIJKLMNOPQRSTUVWXYZ 

12345        abcdefghijklmnopqrstuvwxyz        67890 
12345         abcdefghijklmnopqrstuvwxyz         67890 

fi  fl  ff  ffi  ffljeoe 
f  }  (      ^  *  " a^.CF.Xh  &  £Si  .    .  .  fi  fl  ff  ffi  ffl  ae  oe 

9?'  1 1  §  Tl  -  [  ] 
%  t  t  §  U  -  [  ] 


!  ( 
!  ( 

)   *  '  »  . 

MCE  m  &  £  $ 
JECE  ft  &£$ 

4  %  V2 

/4    %    1/2 

%  %  Vn          @ 
%  %  %          @ 

206 


»  LINOTYPE  CENTURY  EXPANDED « 

6  POINT  ivith  CHELTENHAM  BOLD 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE 
PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  OF  TYPE?  WHAT  DO  THEY  SEE  IN 

How  is  one  to  assess  and  evaluate  a  tyi>e  face  in  terms  of  How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of 

its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of 

printmir  rave  over  a  specific  face  of  type?  What  do  they  see  „HntinK  rave  over  a  specific  face  of  type?  What  do  they  see 
in   It:    Why   is   it   so   suiiorlatively   pleasant   to   their  eyes.'  ■,  ,    ,,,,        ...  i    *•      i         i  ,    .      tu    •  ■> 

Good  design  is  always  practical  design.  And  what  they  see  '"   't?    Why   is   it   so  superlatively    ,,leasant   to  their  eyes? 

in  a  Kood  type  desiKn  is,  partly,  its  excellent  practical  fit-  G°°°  design  is  always  practical  design.  And  what  they  see 

ness  to  i>erform  its  work.  It  has  a  "heft"  and  Ijalance  in  all  •"  a  Kood  tyiie  design  is,  partly,  its  excellent  practical  fit- 

of  its  parts  just  rijrht  for  its  size,  as  any  Kood  tool  has.  Your  ness  to  perform  its  work.  It  has  a  "heft"  and  halance  in  all 

good  chair  has  all  of  its  parts  made  nicely  to  the  ri^ht  size  of  its  jiarts  just  right  for  its  size,  as  any  good  tool  has.  Your 

to   do   exactly   the   work   that   the   chair   has   to   do,    neither  ^^^^  p^air  has  all  of  its  parts  made  nicely  to  the  right  size 

How  IS  one  to  assess  and  evaluate  a  type  face  in   terms  of  .       ,  4.1      4.u  1     *u    *   *u        u    ;      u        *.       1       „    i  +  i 

••  .u    >•     J      •       9  »i/i.      J     .1,  1  •      .u  .      r  to   do   exactly   the   work   that  the   chair   has    to    do,    neither 

its  esthetic  design  .'  Why  do  the  pace-makers  in  the  art  of  ,  ,     ,  .    .  ...-,,,  ,  /       p 

printing  rave  over  a  specific  face  of  type?  What  do  they  see  clumsy  and  thick,  nor     skinny     and  weak,  no  waste  of  ma- 
(  ;j,/„/)  (""'■  /""111/  Iradi'd) 

Matrix  Informatiiiii  :  6t\\72.  I.iaver  .ase  alplialift.  yy  li.jiiits.    KiKHres.  .d^";.?:  tcniiiia.  peri.ni  anil  ihiii  space.  .OJ77.   Runs  in  yo  channel  inaKa/ine. 
Code  \v..rd.  ISVK, 


C»    LINOTYPE") 

8  POINT  with  CHELTENHAM  BOLD 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DES 
WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  O 
How  is  one  to  assess  and  evaluate  a  type  face  in  How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace-  terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific  makers  in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so  ^.^^^  ^f  ^  i  what  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  design  ,^  .j^^tively  pleasant  to  their  eyes?  Good  design 
IS  always  practical  design.  And  what  they  see  in  a  .  ,  •  ■  i  .  a  i  i  i.  i.i 
good  type  design  is,  partly,  its  excellent  "practical  '"  ^'^^^^  practical  design.  And  what  they  see  m  a 
fitness  to  perform  its  work.  It  has  a  "heft"  and  8'ood  type  design  is,  partly,  its  excellent  practical 
balance  in  all  of  its  parts  just  right  for  its  size,  as  fitness  to  perform  its  work.  It  has  a  "heft"  and 
any  good  tool  has.  Your  good  chair  has  all  of  its  balance  in  all  of  its  parts  just  right  for  its  size,  as 
How  is  one  to  assess  and  evaluate  a  type  face  in  any  good  tool  has.  Your  good  chair  has  all  of  its 
terms  of  its  esthetic  design?  Why  do  the  pace-  parts  made  nicely  to  the  right  size  to  do  exactly 
makers  in  the  art  of  printing  rave  over  a  specific  the  work  that  the  chair  has  to  do,  neither  clumsy 

'■'"'"'•'  (one  foint  leaded) 

Matrix  Injuniialiun     .HA25-t.   I...vver  case  alphaliet.    IJl    pnnil-.     Fiunres.     IKV)';  ,.,mnia.   peiiod  and   tliin  spare.     Ol^f,,    Runs   in  yil  channel   ni.ma 
zine.  Code  word,  ISZO. 


-(■     LINOTYPE^  "O- 


10  POINT  with  CHELTENHAM  BOLD 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  E 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  ?  Why  do 
the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do 
they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  al- 
ways practical  design.  And  what  they  see  in  a  good  type  design  is,  partly,  its  excel- 
lent practical  fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its 
parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts 
made  nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither 
clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of  material  and  no  lack  of 
strength.  And,  beyond  that,  the  chair  may  have  been  made  by  a  man  who  worked 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  ?  Why  do 
the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do 

II:,;,  l<.>i„t  !,'„ded> 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghiiklmnopqrstuvwxvzfiflffffiffl  (-$£,.:;'-'?  ! ^'^ t i ^ Tl )  1234567890 
abcdef ghi jklmnopqrstuvwxyzfiflff ffiffl  ( $£,.  :;'-'?!* f  ^ § ^ )  1 234567890 

Matnx  hifoninit'u'}!     lOA-H-^^   Luut-i    ..i^t-  ;iIi.lKil.et.   1?(»  p.iuits.    iMuuit-N.   .iiH.l;  c,.niii!.i.   pt'iiod  aiul  tliiii  sp.ur.   .0A\':-.    Kmis  ni  ■".)  .haiuiel  iiiaga- 
ziiie.  Code  word.  ITAF. 


207 


»LINOTYPTJ]  CENTURY  EXPANDED  « 

12  POINT  luith  CHELTENHAM  BOLD 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design.  And  what  they  see  in  a  good 
type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its  work.  It 
has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good 
tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to 
do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor 
"skinny"  and  weak,  no  waste  of  material  and  no  lack  of  strength.  And,  be- 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of 

(tzvo  point  leaded) 

ABCDEFGHIJKLMNOPQRSTU  V  WXYZ  & 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflfffliffl  ($£,. : ;'-"!  !*tt§ll)  1234567890 
abcdefghijklmnopqrstuvwxyzfiflffffiffl  ($£,.:  ;*-'?!*tJ§l|)  1234567890 

Malii.r  Inlin  mat'uin  .  12A1-40.  l.mvtr  c.ise  alpli.ilit-t.  11.4  poiiils.  I'lKures.  .OS'jy;  ci/iiuiia.  peviiKl  and  tliiii  space.  .MVI.  Kiiiis  ni  'M  iliaiuiel  maga- 
zine. Code  word.  IT  AW, 


-(°  LINOTYPE"  >> 


14  POINT  with  CHELTENHAM  BOLD 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FAG 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its 
esthetic  design?  Why  do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is 
it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always 
practical  design.  And  what  they  see  in  a  good  type  design  is, 
partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has 
a  ''heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its 
esthetic  design?  Why  do  the  pace-makers  in  the  art  of  printing 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfififffRffl($£,.:;'-'?!*tt§l[)1234 
abcdef  ghi jklmnopqrstuvwxy zfiflff  ffiffl  ($£,.:;'-'?!*  1 1  §  II )  1 234 

MatiU-  Injoniiuticii  14AW..  l-ouer  case  alplial)el,  ly7  points.  FiKures.  .1107;  comma,  period  and  tliiil  space,  .055,).  Runs  in  yo  channel  maga- 
zine. Code  word.  ITCU. 


208 


»  LINOTYPE  CENTURY  BOLD  « 


COMPARISON  OF  SIZES 

8  I'oim   (KA308)  Lower  t.isp  alpliahct,  116  points.  Figures.  .0.^5.3 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-m  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-m  1234 

10  I'uint   (10A-f>8)  l,,i%ver  case  alplialu-t.   14f,  points.   KiKUres,  .0692 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  1234 

12  Point  (12Aiy8l  Lower  <ase  alpli.iliet.   I(,x  po,„ls     l-inures.  .OX,-! 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  estheti  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  estheti  1234 

14  Point    (14AI-'-1l  Low-er  case  .iIpli.ilK-t.  .'Ill   j.onits     hlMUies,    ll'J68 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  o  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  o  1234 

1,8  I'oint  (1SA13J)  Lower  case  alphabet.  222  points.  KiKUres.  .1107 

HOW  IS  one  to  assess  and  evaluate  a  type  face  in  term  12 

24   I'oint   (24AHI?)  Lower  <ase  alph.iiwt.  ,til=,  poiiils     I'iKiires.  ,166 

HOW  IS  one  to  assess  and  evaluate  a  ty  12 

30  I'oint   (.?0A8"')  Lf>wer  <  asf  .-ilphal.et.    16f,  points     l-mures.  .2075 

HOW  IS  one  to  assess  and  evalu  12 

36  T'oint   (,16AS5I  Lower  i.,^e  .ilpli.iliel,  422  poinls.   FiKnii-^,  .249 

HOW  IS  one  to  assess  and  e  12 

18  Point  Italic  I1SA17.1)  Lower  case  alphabet.  251  points.  Figures.  .1522 

HOW  IS  one  to  assess  and  evaluate  a  type  face  12 

24  I'oint   Italic  (24A1  'I  I  l...ivcr  i  ,.^f  .ilpli.ibcl .   lll.^  points.   Figures.  .166 

HOW  IS  one  to  assess  and  evaluate  at  12 

M)  I'oint  Italic  L^JIA'in  Lower  ci^e  .,lpli,ibet,    !78  i.onils    FiKures.  .2075 

HOW  IS  one  to  assess  and  evall2 

,16  Point  Italii   l,!(,A14'ii  Lower  case  alphaliet.  41.0  poinl s    Fmuics.    24'i 

HOW  IS  one  to  assess  an  12 


<     LINOTYPE"   > 


LINOTYPE  CENTURY  BOLD  CONDENSED  •  COMPARISON  OF  SIZES 

18  Point  (I8A57)  1  .ower  case  alphabet.  17h  points.  FiKiires,    no; 

HOW  IS  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthet  12 

HOW  IS  one  to  assess  and  evaluate  a  type  face  in  term  12 


flense. 1    (  !IIA75) 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  F 12 


209 


»  LINOTYPE  CENTURY  BOLD  « 


LIST   OF   CHARACTERS  AVAILABLE    IN    TWO-LETTER    FONTS 

ABCDEFGHIJKLMNOPQRSTUVWXYZ 
ABCDEFGHIJKLMNOPQRSTUVWXYZ 

12345       abcdefg^hijklmnopqrstuvwxyz       67890 
12345       ahcdefghijklmnopqrstuvivxyz       67890 

,.:;?!(!)**'-  — ^(Elb&£$8e(E         .  ..fiflffffiffl 
,,:;?!(   )-''-  — JE(Em&i$ceoB  .  ..         fiflffmm 


ONE-LETTER     ITALIC    LOGOTYPES 

FA  PA  TA  VA  WA  YA 
Va  Ve  Vo  Wa  We  Wo  Ya  Ye  Yo 


■<,R,„  LINOTYPE"' >> 


And  on  the  All-Purpose  Linotype  there 
is  a  complete  range  of  sizes  from  18  to  72 
pointy  inclusive,  in  Century  Bold.  The 
A-P'L  Century  Bold  Italic  is  available 
from  18  through  48  point. 


CENTURY  BOLD  A-P- 


H     H     H 


H  H  H  H  H 


.50  36 


CENTURY  BOLD  ITALIC  A-P-L: 

H  H  H  H  H  H 


18  24  30  36 


210 


»  LINOTYPE  CENTURY  BOLD  « 


8  POINT  ivith  ITALIC 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FA(  E  IN  TERMS  OF  ITS  ESTHETIC  DESIGN 

WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FA(  E  OF  T 

How  is  one  to  assess  and  evaluate  a  type  face  in  How  is  one  to  assess  and  evaluate  a  tvpe  face  in 
terms  of  its  esthetic  desij-n?  Why  do  the  pace-  terms  of  its  esthetic  design?  Whv  do  the  pace- 
makers in  the  art  of  printinf,'  rave  over  a  specific  makers  in  the  art  of  printinj-  rave  over  a  specific 
face  of  type?  What  do  thev^see  in  it?  Why  is  it  so  f.„.^  „f  ^  ■;  ^yhat  do  thev  see  in  it?  Whv  is  it  so 
superlatively  pleasant  to  the.r  eyes?  Good  desu/n  .^perlativelv  pleasant  to  their  eves?  Good  design 
IS  always  practical  dcsiqn.  And  what  they  see  in  a  .'  ,  .-  ,  ,  ■  .  i  i  ^  ^i 
good  tvpe  design  is.  partiv,  its  excellent" practical  '«  "'«'«•'/*■  /"-"f'""'  desif,n.  And  what  they  see  in  a 
fitness  to  perform  its  work.  It  has  a  "heft"  and  bal-  R""'!  ^vpe  design  is,  partly,  its  excellent  practical 
ance  in  all  of  its  parts  just  right  for  its  size,  as  any  fitness  to  perform  its  work.  It  has  a  "heft"  and  bal- 
good  tool  has.  Your  good  chair  has  all  of  its  parts  ance  in  all  of  its  parts  just  right  for  its  size,  as  any 
made  nicely  to  the  right  size  to  do  exactly  the  work  good  tool  has.  Your  good  chair  has  all  of  its  parts 
that  the  chair  has  to  do,  neither  clumsy  and  thick,  made  nicelv  to  the  right  size  to  do  exactlv  the  work 
nor  "skinny"and  weak,  no  waste  of  material  and  no  ,hat  the  chair  has  to  do,  neither  clumsy  and  thick, 
lack  of  strength  And.  beyond  t  hat  the  chair  may  „,„.  -^kinnv"  and  weak,  no  waste  .,f  material  and  no 
have  been  made  bv  a  man  who  worked  out  in  it  his  ,,  ,.  ."  ji.ju  jn-^ii.  i- 
sense  of  fine  shapes  and  curves  and  proportL.ns:  it  '«^'*  "'  strength  And,  beyond  that  the  chair  may 
mav  be,  actuallv,  a  work  of  art.  The  same  thing  ^ave  been  made  by  a  man  who  worked  out  in  it  his 
holds  for  shapes  of  letters.  And  your  chair,  or  your  '^*""^«^  «f  fi"*"  shapes  and  curves  and  proportions :  it 
How  is  one  to  assess  and  evaluate  a  type  face  in  may  be,  actually,  a  work  of  art.  The  same  thing 
terms  of  its  esthetic  desiqn?  Why  do  tlie  pace-  holds  for  shapes  of  letters.  And  your  chair,  or  your 
makers  in  the  art  of  printing  rave  over  a  specific  letter  (if  a  true  artist  made  it)  will  have,  besides 

(solid)  („„,■  /iitiiil  Icui.-dj 

ABCDEFGHI.IKLMNOPQRSTUVWXYZ& 

A  BCDEFGHIJKLMNOPQRSTUVWX  YZ& 
abcdefghijklmnopqrstuvwxvzfiflfftriffl  ($£,.:;'-"?  !tt§Tl)  1234567890 
abcdef  gliijtilmnopqrstuvwxyzfiflff  fnffl(U,.:  ;'•'?  !*\t%V  1234567890 

M,:tnx  litloimatwn     XA-tny     I  m«,.,    ,  ,,^r   .il|,h,il..-t ,    IK,   points     I'ikhh-.     n:;i;   ,,,iiiiiia.   iicnoil   .mmI   iIu.i   spate.    ,"J77.    Kuiis   m   '"I  .  h^tiinel   iiuKJ- 


-(     LINDTYPE     > 


10  POINT  with  ITALIC 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do 
the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they 
see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  prac- 
tical design.  And  what  they  see  in  a  good  type  design  is.  partly,  its  excellent  practical 
fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for 
its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the 
right  size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick, 
nor  "skinny"  and  weak,  no  waste  of  material  and  no  lack  of  strength.  And,  beyond 
that,  the  chair  may  have  been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine 
shapes  and  curves  and  proportions:  it  may  be,  actually,  a  work  of  art.  The  same  thing 
holds  for  shapes  of  letters.  And  your  chair,  or  your  letter  (if  a  true  artist  made  it) 
will  have,  besides  its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped 
on  paper  and  read.  That  explains,  in  a  way,  why  the  experts  rave  over  the  fine  shapes 
How  is  one  to  assess  and  evaluate  a  tgpe  face  in  terms  of  its  esthetic  design?  Why  do 
the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they 

(l-vo  point  h;ul,-d) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
A  BCDEFGHIJKLMNOrQRSTUV  WX  YZ& 

abcdefghi  jklmnopqrstuvwxvzfiflffffifH  ($t',. :;'-'?! *ti:§1l)  1234567890 
abcdefghijklmnopqrstuvivxyzfifl/rffifH  ($£,.:  ;'-'?F\M)  1234567890 

Miilni-  htioniuitt.ni      lllAJ'iS.   I,,.wci    i  .i-c  ..Ipli.ilii-I .   Mh  pc.iiils.    I'lmilcs.   .IK.'IJ;  ,-,,inni;i.  perind  .mil  lliui  -p.,,,-.   ,lH-)ii.  Kuns  iii  Vll  rh.innd   iikik.i 
/inc.  Coclf  w.ril.  ITEC. 


211 


»  LINOTYPE  CENTURY  BOLD  « 


12  POINT  ivith  ITALIC 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TER 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic 
design?  Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant 
to  their  eyes?  Good  design  is  always  practical  design.  And  what  they  see 
in  a  good  type  design  is,  partly,  its  excellent  practical  fitness  to  perform 
its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely 
to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither 
clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of  material  and  no  lack 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic 
design?  Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific 

llzvo  I'fliit  Ircidcd) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflflfffiffl  ($£,.:;'-'?!  *t1:§l|)  1234567890 
abcdefghijklmnopqrstuvwxyzfiflffffiffl  ($£,. : ;'-?  /*tt§il>)  1234567890 

Matn.v  InU>y)uat'uni :  \lls\'J><.  I..i\vfi  (.isf  .ilphalK-1.  I'-.S  pniiits.  Fii-infs.  ,i)S,^:  CMinina,  perind  ;md  tliiti  space.  .0-415.  Runs  in  wn  ehaimel  maga- 
zine. Code  word,   ITEX. 


-("    LINOTYPE"  ">> 


14  POINT  with  ITALIC 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its 
esthetic  design?  Why  do  the  pace-makers  in  the  art  of  print- 
ing- rave  over  a  specific  face  of  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design 
is  always  practical  design.  And  what  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fitness  to  perform  its 
work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right 
for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its 
esthetic  design?  Why  do  the  pace-makers  in  the  art  of  print- 


(l-.i.;.  t,.n,t  IrailrJ) 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTVVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflifffiffl  ($£,.: ;^-'?!;n§1l)  123456 
ahcdef  ghijklmnopqrstuvwxyzfiflff  iRffi($iy.: ;'-'?  !''^X%^)  123456 

Mat}iv  Inho  iiintiioi  :  ]  lAU-^-   l-ower  case  alphahet.  201   pi'iiit;-.    Figures,  .O'^hX;  coninia.  period  and  thin  space.   .114X4.   Kinis  in  90  channel  maga- 
zine. Code  wctrd.  ITI-'A. 


»  LINOTYPE  CENTURY  BOLD  « 


18  POINT 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  F 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of 
its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of 
printing  rave  over  a  specific  face  of  type?  What  do  they 
see  in  it?  Why  is  it  so  superlatively  pleasant  to  the  eyes? 
Good  design  is  always  practical  design.  And  what  they 
see  in  a  good  type  design  is,  partly,  its  excellent  practi- 
cal fitness  to  perform  its  work.  It  has  a  "heft"  and  bal- 
ance in  all  of  its  parts  just  right  for  its  size,  as  any  good 
tool  has.  Your  good  chair  has  al  1234567890  1234567890 

Matrix  IiiloiiualiuH  :  IXAl.Vl.  Lower  case  alpliahet .  222  pi. nit-,  I'lKines.  11117.  Kilns  iii  •III  ,li,-iiiiiel  iiiaKa/ine,  Wiile  ligures.  .lJ4i.  can  lie  sii|)- 
Iilled  fur  use  in  72  tliaiiiiel  iiiaKa/ine  c.r  in  '«l  ilianiiel  niaua/ine  acmliiiK  t.i  advert  isini;  tit'ure  lay.mt.  1')  li.init  aUiinnient.  Cnile  wuril.  ri(";K. 
Alsi)  available  in  tw..  letter  matrices  as  Century  li.iM  uitli  (  .-ntury   I  xpamlcl   (IS;;,i,lii.  Code  uiir<l.  '/AlVE. 


-(LINOTYPE     > 

24  POINT 


HOW  IS  ONE  TO  ASSESS  AND  EVAL 
How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  type?  What  do 
they  see  in  it?  Why  is  it  so  superlatively 
pleasant  to  their  eyes?  Good  design  is 
always  pra  ($,.:-/-7!fiflffffiffl)  1234567890 

ABCDEFGHIJKLMNOPQRSTUVWX 
abcdefghijklmnopqrstuvwxyz 

A/<J//i.r  Initiinnlluni  JIAln7.  I...«e.  l  ise  all.liai.el.  -<ll^  l.Minls  iMKnres.  li,',  Kun^  in  72  rhann,-!  nia;;a/ine:  als..  I.mer  rase  I'veeft  nl  and  w  in 
eai)  ehanilels  ,.f  'HI  ehainiel   mana/ine  with  i  aps  and  tiKlires  in    \A  .liainn-I  anviliary   inaKa/ine.    -'=i  imiiit   alii;ninent,    (  .  ,de   u.ird.    ITHI. 


213 


»  LINOTYPE  CENTURY  BOLD  « 


30  POINT 


HOW  IS  ONE  TO  ASSESS  AND  E 
How  is  one  to  assess  and  evaluate  a 
type  face  in  terms  of  its  esthetic 
design?  Why  do  the  pace-makers 
in  the  printing  art  rave  over  spe- 
cific type  faces?  What  do  they  see 

(tzvo  point  leaded) 

Matrix  Information :  30A89.  I>ower  case  alphabet,  366  points.  Figures,  ,2075.  Runs  in  wide  72  channel  magazine:  also  lower  case  in  cap  chan- 
nels of  72  channel  magazine  with  caps  and  figures  in  wide  J4  channel  auxiliary  magazine.  Code  word.  ITIH, 


-(     LINOTYPE  "■> 
36  POINT 


HOW  IS  ONE  TO  ASSESS  A 

How  is  one  to  assess  and  eval- 
uate a  type  face  in  terms  of  its 
esthetic  de  abcdef  ghijklmnop 
qrstuvwxyz  ($,.:;'-'?!fiflfffBffl) 

ABCDEFGHUKLMNOPQR 
STUVWXYZ&  1234567890 

Matrix  Information  :  36A55.  Lower  case  alphabet.  422  points.  Figures.  .249.  Runs  in  wide  72  channel  magazine;  also  lower  case  except  ni  in  cap 
channels  of  72  channel  niaga/ine  with  caps  and  figures  in  wide  34  channel  auxiliary  magazine.  Code  word,   ITIZ. 


214 


A*P*L  CENTURY  BOLD« 


(?JA1U-'I  I   Lower  L■.l^c  hIpIi.iIi.-i  .  VJll  pmnl-..  c  ,,cl,-  vi.,rii.  ZATIX 


A  KITC  HEN 

Set  of  5  green 


(f.oAID^'l)   Liiwer  c:ise  ;ili)liahel.  7.S(.  p.iiiils,  C  ,«k-  «..r(l.  ZAI'lN 


KNIT  GLOVES 

Rare  bargain  $2 


(•IKAHl.'l  )  Lower  else  alpli.ihet.  5X9  p...iiits.  Code  word.  ZAI'III 


MEN'S  SUITS  AND 
Topcoats  now  priced 
at  $35  are  made  by  a 


("UAIO-I  >  Lower  case  alphaliet.  5K=.  points.  Code  word.  ZACIR 


SMART  DRESS  WITH 
Matching  hat  of  linen  in 
sizes  16  and  18  has  very 

All-Pur  pose  Linotype  matrices  are  also  available  in  IS,  24, 30  and  :ifi  point  sizes 

215 


>^  LINOTYPE  CENTURY  BOLD  ITALIC  « 

18  POINT 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A 
How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  pace-makers 
in  the  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it  so  superla- 
tively pleasant  to  the  eyes?  Good  design  is  always 
practical  design.  And  what  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fitness  to 
perform  its  worii.  It  has  a  ''heft"  and  balance  in 
all  of  its  parts  just  right  for  its  size,  as  any  good 

(two  point  leaded) 

Matrix  Information :  18A173.  Lower  case  alphabet.  251  points.  Fieures,  .1522.  Runs  in  72  channel  magazine;  also  lower  case  in  cap  channels  of 
90  channel  magazine  with  caps  and  figures  in  34  channel  auxiliary  inai;.'i/ine.  19  point  alignment.  Code  word.  ITJO 


-("    LINOTYPE '"> 

24  POINT 


HOW  IS  ONE  TO  ASSESS  AND  EVAL 
How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing 
rave  over  a  speciRc  face  of  type?  What  do 
they  see  in  it?  Why  is  it  so  superlatively 
pleasant  to  their  eyes?  Good  design  is 
always  pr  ($,.:;'-'? mMffiffl)  1234567890 

(two  point  leaded} 

ABCDEFGHIJKLMNOPQRSTUVWX 
abcdefghijklmnopqrstuvivxyz 

Matrix  Information  :  J4A'3I.  Lower  case  alphabet.  305  iioiiirs.  Figures,  .166.  Huiiv  m  72  ciiaiuiel  iiiafia/ine  ;  also  lower  case  except  m  and  w  in 
cap  channels  of  90  channel  magazine  with  caps  and  figures  in  34  channel  auxiliary  magazine.   25  point  alignment.   Code  word,   TTKU. 


216 


y>  LINOTYPE  CENTURY  BOLD  ITALIC  < 

30  POINT 

HOW  IS  ONE  TO  ASSESS  AN 
How  is  one  to  assess  and  evaluate 
a  type  face  in  terms  of  its  esthetic 
design?  Why  do  the  pace-makers 
in  the  art  of  printing  rave  over  a 
specific  type  face?  What  do  they 

(tuu>  f^i'iiit  h-adcdl 

Matrix  Information :  30A91.  Lower  case  alphabet.  .US  jjoint--.  iMHures.  .J(i75.  Kull^  in  wide  72  chainiel  iiiaKa/iiie;  alsn  lower  case  in  <,ap  lIihii- 
nels  of  72  channel  magazine  uitli  caps  and  tifinres  in   wiiit*  ,U  tliannel  anxiliaiy  rna«a/ine    (  -kU-  uot'l.    11  1,^', 


-(LINOTYPE     > 

36  POINT 


HOW  IS  ONE  TO  ASSESS 
How  is  one  to  evaluate  and 
assess  a  type  face  in  terms 
of  its  esthetic  abcdefghijkl 
mnopqrstuvwxyz  ($,,:;' '?!) 

ABCDEFGHIJKLMNOP 
QRSTUVWXYZ&123456 

Matiix  liiloi  iiuitinn  :  J6AM''-  l.<)\\or  case  aliiliahcl.  4t^(,  iii.niiv  l-iKurcs.  JA'K  Knns  in  wule  .M  thamiel  auxiliary  mavia/iiu- :  aKn  Inwcr  case  in 
cap  clianiu'ls  ..t  wide  72  channel  inav;a/ine,  CiHle  u.-ril.  ZKPOV. 


217 


A*P'L  CENTURY  BOLD  ITALIC  <^ 


(48AI"-'-'l   l.uwei  iMs,e  alplialjct.  5X3  p.jiiit-.-  ('ode  uc.ril.  /A.\(l.\ 


EVENING  GOWNS 
New  designs  in  sizes 
16  and  18  are  a  very 
good  buy  and  prices 


(42A1022)  Lower  case  alphabet,  521  points.  Code  word.  ZANOH 


COPY  OF  ORIENTAL 
Rug  in  size  9x15  with 
a  very  beautiful  throw 
rug  in  the  same  design 


(.1fiAl(IJ2)  Lower  .ase  aliihal)et.  451  points.  Code  word.  ZAJYU 


OXFORD  SHIRTS  WITH 
Attached  collars  for  sport 
wear  in  solid  colors  priced 
as  low  as  $2.34  during  this 


All-Pur  pose  Linotype  matrices  are  also  available  in  18, 24  and  30  point  sizes 

218 


CENTURY  BOLD  CONDENSED  •  EXTRA  CONDENSED 

18  POINT 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  I 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic 
design?  Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  spe- 
cific face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively 
pleasant  to  their  eyes?  Good  design  is  always  practical  design.  And 
what  they  see  in  a  good  type  design  is,  partly,  its  excellent  practical 

I  l:v.,  I^:'n,l  I,  ,nl.;l 
Htntiir  hij.niii.iliin,     1XAS7.   I.i.wfi   i:ise  .ilph.-ihet .   1 7r,  i),,iiits.   Ficllres.  .097.  Runs  iti  '«!  ili;niiu-I  inaga/iiie.  Code  wnr.l.    ITOJ, 


-C      LINOTYPE      )- 

24  POINT 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of 
its  esthetic  design?  Why  do  the  pace-makers  in  the  art 
of  printing  rave  over  a  specific  face  of  type?  What  do 
they  see  in  it?  Why  is  it  so  sup  1234567890 1234567890 

(twa  t^.nnt  leaded)  (Regular)  (Special  Nv.  I ) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
abcdefghijklmnopqrstuvwxyzfiflffffiffl  ($,.:;'-'?!) 

Matrix  I iiloiinati<'n  2-lA^'7.  Lower  cis^-  alphalx-1 .  22^  p.iiiits.  Figures.  .1107.  Uuiis  in  ''O  ».1kiiiih-1  in;iu;t/iiif.  Wide  liiiurt-s.  .124=..  can  he  sup- 
plied fni    Use  in  72  thaiinel  maga/iiie  nr  in  'J')  Lhaiiiie!  inaKa/ine  according  to  a<lvertisiiiy  figure  laymit.  Citde  won!.   ITUK. 


-(°  LINOTYPE     > 


30  POINT  CENTURY  BOLD  EXTRA  CONDENSED 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE 
IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  PACE- 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&  (|,.:f -'?!)  123456 

Matrix  Injormation  .   .iiiA/'r'.   (  aps.   IiMUies  .md    pmnls  only.    Figures.   ,lli)7.    Runs   in  ''ii  channel   niaKa/ine.   Code  word.    irWA.    The  tharacters 
in  this  face  have  the  same  widtli  and  weight  as  those  in  2A  point  Century  Buld  t  nndensed. 


218a 


Century  Family  ADVERTISING  FIGURES 


-(,.,  LINOTYPE"  "> 


CENTURY  BOLD,  14  to  42  pt. 

1234567890 

42  Point  (42An)  Auxiliary  position.  Figures,  .2767.  For  three  line  12  point  from  Special  Advertising  Figure  Mold,  F-2106,  or 
two  line  16  puint  from  Special  Advertising  Figure  Mold.  F-6288.  or  two  line  18  point  from  Display  Mold.  Runs  in  Wide  34 
channel  auxiliary  magazine.  Code  word.  ZIFAF. 


1234567890 


36  Point  (36AS5)  Auxiliary  position.  Figures,  .249.  For  three  line  10  point  from  Special  Advertising  Figure  Mold,  F-2106.  or 
two  line  16  point  from  Special  Advertising  Figure  Mold,  F-6288.  or  two  line  18  point  from  Display  Mold.  Runs  in  left  side  of 
34  channel  auxiliary  magazine  and  in  Wide  34  channel  auxiliary  magazine.  Code  word.  ITIZ. 


1234567890 

es,  .2075.   For  two  line  12  point  irnm  Adver 

1234567890 


30  Point  (30A25)  Regular  position.  Figures,  .2075.  For  two  line  12  point  imm  Advertising  Figure  Mold.  Runs  in  all  auxiliary 
magazines.  Code  word,  ITZI. 


24  Point   (24A15)   Regular  position.   Figures,  .166.   For  two  line  10  point  from  Advertising  Figure  IVlold.  Runs  in  90  channel 
magazine,  advertising  figure  channels,  and  in  all  auxiliary  magazines.  Code  word,  ITYD. 


1234567890 


24  Point  Underscored  (24A15)  Regular  position.  Figures,  .0968.  For  two  line  10  point  from  Advertising  Figure  Mold.  Runs  in 
90  channel  magazine,  regular  figure  and  advertising  figure  channels,  and  in  all  auxiliary  magazines.  Code  word,  I'J'YD.  These 
figures  may  he  used  as  superior  characters  for  24  and  30  point  advertising  figures. 


1234567890 


18  Point   (18A9)   Regular  position.   Figures.  .1245.   For  tv   >  line  8  point  frdin  Advertising  Figure  Mold.   Runs  in  90  channel 
magazine,  advertising  figure  channels  and  all  auxiliary  magazines.  Code  word.  ITXE. 

1234567890 

14  Point    (14A7)    Regular  position.   Figures.   .0968.    I'or  Iwo  line  7  point   from  Advertising   Figure  Mold.   Runs  in  90  channel 
magazine,  regular  figure  and  advertising  figure  channels,  and  in  all  auxiliary  magazines.  Code  word.  ZIFAL. 

CENTURY  BOLD  ITALIC,  18  and  24  pt. 


1234567890 

.  .1729.   For  tui.  line  10  iioiiit   from  Ailvi 

1234567890 


24  Point  {24A3)  Regular  position.  Figures.  .1729.  For  two  line  10  point  from  Advertising  Figure  Mold.  Runs  in  all  auxiliary 
magazines.  Code  word,  IVDU. 


18  Point    (18A11)   Regular  position.  Figures,  .1522.   For  two  line  8  point   from  Advertising  Figure  Mold.  Runs  in  90  channel 
maKazine.  advertising  figure  channels,  and  in  all  auxiliary  magazines.  Code  word,  IVBI. 

Note:  Fractions,  points,  cent  mark,  and  other  commercial  characters  are  available  for  these  faces 


218b 


LINOTYPE 

CHELTENHAM 

FAMILY 


ROMAN-  ITALIC 
WIDE  •  BOLD  •  CONDENSED 

EXTRA  CONDENSED  ITALIC 

MEDIUM  CONDENSED 

BOLD  CONDENSED 

BOLD  EXTRA  CONDENSED 


Cheltenham  was  originated  by  the  Meigenthaler  Lino- 
type Com[)any  more  than  a  quarter-century  ago.  It  is 
cut  in  almost  every  conceivable  style,  from  wide  to 
extra  condensed,  and  in  varying  weights,  from  light  to 
extra  bold.  Its  development  into  possibly  the  largest  of 
all  type  families  has  made  it  one  of  the  most  popular 
and  widely-used  type  series  ever  designed.  This  folder 
shows  the  wide  range  of  weights,  widths  and  point 
sizes  of  the  Linotype  Cheltenham  Family.  A-P-L 
universal-aligning  matrices  are  also  available  for  the 
Cheltenham  Bold  and  Italic,  and  for  Cheltenham  Bold 
Condensed  and  Italic,  as  displayed  on  following  pages. 


MERGENTHALER  LINOTYPE  COMPANY 


BROOKLYN,  N.Y.,   NEW  YORK  CITY.    CHICAGO,    SAN    FRANCISCO,    NEW  ORLEANS.    CANADIAN 
LINOTYPE,   LIMITED,  TORONTO.   REPRESENTATIVES    IN  THE    PRINCIPAL  CITIES    OK  THE   WORLD 


THE 

LINOTYPE  CHELTENHAM  FAMILY 

RANGE  OF  TEXT  WEIGHTS 

CHELTENHAM 

CHELTENHAM  WIDE 

CHELTENHAM  BOLD                  1 

How  is  one  to  assess  and  evalu- 
ate a  type  face  in  terms  of  its 
esthetic  design?   Why  do  the 
pace-makers  in  the  art  of  print- 
ing rave  over  a  specific  face  of 
type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleas- 

How  is  one  to  assess  and          How^  is  one  to  assess  and 
evaluate    a    type    face    in         evaluate    a    type    face    in 
terms    of    its    esthetic    de-         terms    of    its    esthetic    de- 
sign?   Why    do    the    pace-         sign?    Why   do    the    pace- 
makers in  the  art  of  print-         makers  in  the  art  of  print- 
ing   rave    over    a    specific         ing    rave    over    a    specific 
face    of    type?     What    do         face    of    type?    What    do 

RANGE 

.  OF  DISPLAY  WEIGHTS 

Cheltenham 

Cheltenham 
Condensed 

Cheltenham                Cheltenham 
Medium  Cond.                   Bold 

Cheltenham           Chelt.  Bold 
Bold  Cond.           Extra  Cond. 

A    a 

A   a 

A  a 

A    a 

A  a 

A  a 

B    b 

B   b 

B   b 

B    b 

B   b 

B  b 

C    c 

C    c 

C    c 

C    c 

C    c 

C  c 

D  d 

D  d 

D  d 

D    d 

D  d 

D  d 

E    e 

E    e 

E    e 

E    e 

E    e 

E   e 

F    f 

F    f 

F    f 

F     f 

F    f 

F   f 

G  g 

G  g 

G  g 

G    g 

G  g 

G  g 

H  h 

H  h 

H  h 

H   h 

H  h 

H  h 

K  k 

K  k 

K  k 

K   k 

K  k 

K  k 

L    1 

L    1 

L    1 

L     1 

L    1 

L    1 

Mm 

Mm 

Mm 

M  m 

M  m 

Mm 

N    n 

N   n 

N  n 

N    n 

N    n 

N  n 

O     0 

0     0 

0  0 

0    o 

0  0 

0  0 

220 


of  Si 


izes 


CHELTENHAM  with  ITALIC  and  SMALL  CAPS 

K  r..liit    IXAI-'I  l.,.uiT  ..I-.C-  .-ill.h.il.cl.  '",  PM1I11-.    |-mm-c<.  .(1  =  /,  y^ 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-mak  1234        y-^OTTipQTlciOTl 

HOW  IS  ONE  to  assess  and  cOalualc  a  type  face  in  terms  of  its  esthetic  design?  IV hy  do  the  pace-mak  VBCD 

'*  I'oiiil   (0A4f,l  l...ucr  c;isi- .-iIlilKihi-I.  1(I7  pniilts.  Figures,  .W._>.' 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  p  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  p  VBCD 

Kiroiiif   (KIAISI  l.cwer  c.'iM-  .-jliiliahi-l.   ll'i>Mi,,ts.   I- iKnrcs_(l77 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  1  234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  VBCD 

11    Point   IllA-lR)  l-.int-r  .;is<-  ali.li.ibft.  IJr,  ,)nints.  FiKlircs.  ,'i7fil 

HOW  IS  ONE.  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  ?  1 234 
HOW  IS  ONE  to  assess  atjd  evaluate  a  type  face  in  terms  of  its  esthetic  design?  VBCD 

l.>   I'.ililt    (l.'Al.^l  L.iSM-r  CIS,-  .-|l|.hal..-I.    Mi  iir.iiits.    l'.i;ni-<-..     ny-l 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  de  1 234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  de  VBCD 

!■»  I'.iiiil    (14A-1)  I  ,.w<T  (a-,,-  alplialict.    IVlp^iiitv     l,v;,n<-s,     ir^y 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  m  terms  of  its  1  234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  VBCD 

211  I',, nit    IJIl,','/)  I.MWt-r  .a-.<'  allihal.i-t.    l'M|i.ant~,,    1- ii;in  fs.  .  1  1  Ii7 

HOW  IS  one  to  assess  and  evaluate  a  type  face  in  term  1 2 

24  rciint   (J-1A1IH  I  laiwer  ia-.<-  alphabet.  J.VJ  pciiits.    l-ii;urts.  .  1  r,r, 

HOW  IS  one  to  assess  and  evaluate  a  typ  1 2 

J(i  r.iiiit  (.iriASS)  Lower  case  alphahci,  _'SK  points,  l-iupri-s.  .l').(7 

HOW  IS  one  to  assess  and  evaluate  1 2 

3f.  r<mii    i.li.A-^*'  Lower  case  alpliahol.  J45  point?;.   l'ij,'nres.  .249 

HOW  IS  one  to  assess  and  1 2 

2(1  I'oiiit  Italic  (.'liA17»  l...wer  case  alpli.il.el.  l'iSp,,ints.  FiKiircs.  .1.1X1 

HOW  IS  one  to  assess  and  evaluate  a  type  face  in  te  12 

24    r..nit    hall.'    I.MAI"''!  I  mw,t  ,  .is,-  .alplKilict .  J-I'l  p,  .,,,1  ^.    limner.   ,Ir,r, 

HOW  IS  one  to  assess  and  evaluate  a  typ  1 2 

3(1  I'oiiit  Italic  (.«IA''7»  l-w«cr  ..is,.  .,1pl,.,li,.t .    Siio  p..iiit<,   iMKnri--.  .207=; 

HOW  IS  one  to  assess  and  evalu  1 2 

(LINOTYPE") 


LIST   OF   CHARACTERS   AVAILABLE    IN    TWO-LETTER    FONTS 

WITH    ITALIC    AND    SMALL   CAPS 

ABCDEFGHIJKLMNOPQRSTUVWXYZ 
ABCDEFCHIJKLMNOPQRSTUVIVXYZ 

ABCDEFG11IJKLMNOPQRSTUVWXYZ& 

12345  abcdefghijklmnopqrstuvwxyz  67890 

VBCDE  ahcdefghijklmnopqrstuOicxyz  FCRTJ 

,.:;?l(|)*-'._/ECEfc&£$.   ..  fiflffffifflieoe 

,  .   ;   ;   .^    /  A  I  Q  O  '  ' ALQL  tb  N  £  P  L  .    .  .  /i  Y  #  W  M  K  H 

12345  Z&  :   ()  flffiffl$ae.r  67890 

12345  Z&  :( )flffifji$siv  67890 

!/«  !4  3/8 '/2  5/8  7/8  XZ&/ECE  @  %  t  t  §  <1  -  I  1 

ONE-LETTER    ITALIC    LOGOTYPES 

FA    PA    TA    VA    WA    YA    Va    Vc    Vo    Wa    Wc    Wo    Ya    Ye    Yo 


221 


CHELTENHAM  with  ITALIC  and  SMALL  CAPS 


8 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE 
DESIGN?  WHY  DO  THE  PACE-MAKERS  IN 
How  IS  ONE  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace-makers 
m  the  art  of  printmg  rave  over  a  specific  face  of  type? 
What  do  they  see  m  it?  Why  is  it  so  superlatively 
pleasant  to  their  eyes?  Good  design  is  always  practi- 
cal design.  And  what  they  see  in  a  good  type  design 
is,  partly,  its  excellent  practical  fitness  to  perform  its 
work.  It  has  a  "heft  '  and  balance  in  all  of  its  parts 
just  right  for  its  size,  as  any  good  tool  has.  Your  good 
chair  has  all  of  its  parts  made  nicely  to  the  right  size 
to  do  exactly  the  work  that  the  chair  has  to  do,  neither 
clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of 
material  and  no  lack  of  strength.  And,  beyond  that, 
the  chair  may  have  been  made  by  a  man  who  worked 
out  in  it  his  sense  of  fine  shapes  and  curves  and  pro- 
portions: it  may  be,  actually,  a  work  of  art.  The  same 
How  is  one  lo  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  IV hy  do  the  pace-makers 
in  the  art  of  printing  rave  over  a  specific  face  of  type? 
(solid ) 


A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHET 
THE  ART  OF  PRINTING  RAVE  OVER  A  S 
How  IS  ONE  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace-makers 
in  the  art  of  printing  rave  over  a  specific  face  of  type? 
What  do  they  see  in  it?  Why  is  it  so  superlatively 
pleasant  to  their  eyes?  Good  design  is  always  practi- 
cal design.  And  what  they  see  in  a  good  type  design 
is,  partly,  its  excellent  practical  fitness  to  perform  its 
work.  It  has  a  "heft"  and  balance  in  all  of  its  parts 
just  right  for  its  size,  as  any  good  tool  has.  Your  good 
chair  has  all  of  its  parts  made  nicely  to  the  right  size 
to  do  exactly  the  work  that  the  chair  has  to  do,  neither 
clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of 
material  and  no  lack  of  strength.  And,  beyond  that, 
the  chair  may  have  been  made  by  a  man  who  worked 
out  in  it  his  sense  of  fine  shapes  and  curves  and  pro- 
(tzvo  point  leaded} 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ABCDEFGH1JKLMNOPQRSTUVWXYZ& 
abcdefghijklmnopqrstuvwxyz 
ahcdefghijklmnopqrstuvwxyz 

12345  ($£,.:;■-•?  I *tJ§^fiflffffiffl)  67890 
12345  ($£.. : ;'-?  .'  mnfiflffM)  67890 

Sjnall  Cap  Figures 
HhI234567890hH 

Afatrjx  Information  :  8A12.  Lower  case  alphabet.  96  points.    Figures.  .OSfi;  comma,  period  and  thin   space.   .028.    Runs  in  90 
ihannel  magazine.  Code  «ord.  I\'E7. 


-C'tLINQTYPE" '> 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  E 
DESIGN  ?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OV 


How  IS  ONE  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it 
SO  superlatively  pleasant  to  their  eyes?  Good  de- 
sign is  always  practical  design.  And  what  t^-ey 
see  in  a  good  type  design  is,  partly,  its  excel- 
lent practical  fitness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right  for 
its  size,  as  any  good  tool  has.  Your  good  chair 
has  all  of  its  parts  made  nicely  to  the  right  size 
to  do  exactly  the  work  that  the  chair  has  to  do, 
neither  clumsy  and  thick,  nor  "skinny"  and  weak, 
no  waste  of  material  and  no  lack  of  strength. 
HoiO  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  raOe  oOer  a  specific 


How  IS  ONE  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it 
so  superlatively  pleasant  to  their  eyes?  Good  de- 
sign is  always  practical  design.  And  what  they 
see  in  a  good  type  design  is,  partly,  its  excel- 
lent practical  fitness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right  for 
its  size,  as  any  good  tool  has.  Your  good  chair 
has  all  of  its  parts  made  nicely  to  the  right  size 
to  do  exactly  the  work  that  the  chair  has  to  do, 
neither  clumsy  and  thick,  nor  "skinny"  and  weak, 
no  waste  of  material  and  no  lack  of  strength. 

(two  point  leaded) 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
A  BCDEFGHIJKLMNOPQRS  TUVWXYZ& 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyz 
abcdefghijklmnopqrstuvwxyz 

12345  ($£,.:;'-'?!ni:§^fiflffffiffl)  67890 
12345  ($£,. :  .■'-•  ? !  fiflffm)  67890 


Mafri.r 


Information :  9A46.  Lower  case  alpliabet,  107  points.  Figures, 
magazine.  Code  word,  IVFV. 


a,  period  and  thin  space,  .0311.  Runs  in  90 


222 


CHELTENHAM  with  ITALIC  and  SMALL  CAPS 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  O      ]  Q 

How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  practical  design.  And 
what  they  see  in  a  good  type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its  work. 
It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your 
good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair 
has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of  material  and  no  lack 
of  strength.  And,  beyond  that,  the  chau-  may  have  been  made  by  a  man  who  worked  out  in  it 
his  sense  of  fine  shapes  and  curves  and  proportions:  it  may  be,  actually,  a  work  of  art.  The 
same  thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  letter  (if  a  true  artist  made  it) 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in  it? 

(tw,i  t"ni>t  leaded) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
A  BCDEFCHIJKLMNOPQRS  TUVWXYZ& 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
abcdefghijklmnopqrstuvwxyz 
ahcdef  ghijklmnopqrstuvwxyz 

12345  ($£,.:  ;'-'?!*tt§^fiflffffiffl)  67890 
12345  ($£,.:■:-?!  nmfiftffffiffl)  67890 

Sutall  Cap  Figures 

HhI234567890HH 

Miilrix  liilvimatioii  :  IDAKS.  Lower  lase  alphabet.  115  points.  Figures,  .077;  Loiiiiiia.  iierio.l  and  thin  space.  .II.WS.  Runs  in  90 
channel  inaKa/nie    (  o,le  uor.i.  i\(;A, 


(.0  LINOTYPE^ 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TER 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  ?  Why  do 
the  pace-makers  in  the  art  of  printmg  rave  over  a  specific  face  of  type?  What  do  they 
see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  prac- 
tical design.  And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent  practical 
fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right 
size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor 
"skinny"  and  weak,  no  waste  of  material  and  no  lack  of  strength.  And,  beyond  that, 
the  chair  may  have  been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes 
HoiV  IS  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  ?  Why  do 
the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type  ?  What  do  they 

(two  point  leaded) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFCHIJKLMNOPQRSTUVWX  YZ& 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
abcdefghijklmnopqrstuvwxyz 
abcdefghijklmnopqrstuvwxyz 

1 2345  ($£,. :  ;'-•?  !*tt§ H  fiflffffifA)  67890 
12345  ($£,. :;'-'?!  fifUlM)  67890 

Matrix  Inforiuatioti  :  I1A4S.  Lower  case  alphabet.  lJf>  points.  Fimiie-.  ,n7ol  ;  (...nuiia.  peri-.d  ami  thin  space.  .(UH.  Runs  in  90 
channel  inaRa/ine.  (^)de  word.  IVIIE. 


223 


CHELTENHAM  with  ITALIC  and  SMALL  CAPS 


1 2     HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN 

How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type? 
What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good 
design  is  always  practical  design.  And  what  they  see  in  a  good  type  design  is, 
partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has  a  "heft"  and  bal- 
ance in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair 
has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type? 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFCHIJKLMNOPQRS  TUV  WX  YZ& 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyz 

abcdefghijklmnopqrstuvwxyz 
12345  ($£..:;'-'?!*t$§qfiflffffiffl)  67890 
12345  ($£,. ;;'-' ?!  m^Mififfl)  67890 

Small  Cap  Figures 

HhI234567890hH 

Matrix  Information :  IJAIS.  Lower  case  alphabet.  L^5  points.  Figures.  .084;  comma,  period  and  thin  space.  .042.  Runs  in  90 
cliannel  magazine.  Code  word,  IVIB. 


(    c LINOTYPE'   ) 

1 4  HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  F 
How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic 
design  ?  Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  spe- 
cific face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively 
pleasant  to  their  eyes?  Good  design  is  always  practical  design.  And 
w^hat  they  see  in  a  good  type  design  is,  partly,  its  excellent  practical  fit- 
ness to  perform  its  v\^ork.  It  has  a  "heft"  and  balance  in  all  of  its  parts 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic 
design?  Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  spe- 

(tu'o  pi>i}it  leaded) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHI/KLMNOPQRSTUVWXYZ& 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyz 

abcdefghijklmnopqrstuvwxyz 
12345  ($£,.: ;V?!^tJ§qfiflffiffl) 67890 
12345 ($£,.:;'-'?!  nmfifl0m)6789O 

Matrix  Inltiriaatiiia  :  14A4.   Lower  lase  iilpliahet,   1 5V  points.    FlKUres.  .OyoS;  ..oiiiiiia,  period  and  thin  space.   .0484.   Runs  in  90 
channel  Tiiana/ine.  Code  word.  IVIJ. 


224 


CHELTENHAM 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A   20 

How  IS  one  to  assess  and  evaluate  a  type  face  m  terms  of 
its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of 
printing  rave  over  a  specific  face  of  type?  What  do  they 
see  in  it?  Why  is  it  so  supe  1 234567890  ($,.:;'-'?!fiflffffifH) 


/.„,„/  /,„,/,■,(, 


How  IS  one  to  assess  and  evaluate  a  type  face  in  terms  of 
its  esthetic  design?  Why  do  the  pace-makers  in    g  j  p  q  y 


,t  7i;ll,  slunt  ilruriul.'i  ■..  .ni    I .S  /..M»/  h,i,ly 


ABCDEFGH1JKLMN0PQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyz 

Miitiix   hiloi  iiiuhi'ii     .'OA'f.    I.cwfi    use  alpli.'ibet.    194  pciints.    Fil-ures.   .1107.    Kliiis   in  '«1  ,li.uim-l   iii:.K-i/in<-.    SiTi:ille-t    slug  iin 
wliicli  lliis  l.-H-e  will  i.-.st  is  Jll  i>.iint.  Will  i.ist  mi   IS  pnint  slug  by  using  shnrt  descenders.  (Dde  wcrd.   IVJI. 


-(,.M  LINOTYPE'")- 


HOW  IS  ONE  TO  ASSESS  AND  EV  '' 

How  IS  one  to  assess  and  evaluate  a  type  face 
m  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  m  the  art  of  printing  rave  over  a 
specific  face  of  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design. 
And  what  1  234567890($,.:;'-'?!fiflffffiffl) 


/i,.iij/  h'.nl.Jl 


ABCDEFGHIJKLMNOPQRST 
UVWXYZ& 

abcdefghijklmnopqrstuvwxyz 

Matnr   I  nioi  iiuitioii     .M.A,10I.    1..iu,t   i..s.'  .(Ii.h.,b,l.    .' i'J  |i,.inls     l-i^uiis.   ,1'.'..    Uuns   ui   ;_'  ili.iniu-l   ni.iu.i/ine :   .ils.i  Inwer  case 
111  call  dlaliiiels  of  'Ml  i  lianmd  luaya/ine  «illi  c.ips  and  timires  in  .f-l  channel  auxiliaiy  niat;a/ine.  (ode  word.   I\K(>. 


225 


CHELTENHAM 


30 


36 


HOW  IS  ONE  TO  ASSESS  AND  E 

How  IS  one  to  assess  or  evaluate  a  type 
face  in  terms  of  esthetic  design?  Why 

do  1 1234567890  ($,.:;VMflfffM) 

ABCDEFGHIJKLMNOPQRSTU 

VWXYZ& 

abcdefghijklmnopqrstuvwxyz 

Matrix  Information :  ^OA55.  Lower  case  alphabet.  288  points.  Figures,  .iy37.  Runs  in  72  channel  magazine;  also  lower  case 
except  in  and  w  in  cap  channels  of  90  channel  magazine  with  caps  and  figures  in  Wide  34  channel  auxiliary  magazine.  Code 
word.  IV^LU. 


-(     LINOTYPE--)- 


HOW  IS  ONE  TO  ASSES 

How  can  any  one  evaluate  and 
assess  type  faces  m  terms  of  the  1 

234567890  ($,.:;'-'?!fiMffiffl) 


(two  point  leaded) 


ABCDEFGHIJKLMNOP 
QRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyz 

Matrix  hiiormation:  36A43.  Lower  case  alphabet,  345  points.   Figures.  .249.   Runs  in  Wide  72  channel  magazine;  also  lower 
case  in  cap  channels  of  72  channel  magazine  with  caps  and  figures  in  Wide  34  channel  auxiliary  magazine.  Code  word,  IVMY. 


226 


CHELTENHAM   ITALIC 


HOW  IS  ONE  TO  ASSESS  ANY  TYPE  INT  20 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of 
its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of 
printing  rave  over  a  specific  face  of  type?  What  do  they 
see  in  it?  Why  is  it  so  superlatively  ($,.:;'-' ?!fiftifffifR) 


(t-.vo  t>,ii,tl  It-aJrJ) 


How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of 
its  esthetic  design?  Why  do  the  pace-makers  in    gjpqy 


,t  -.i'llli    ,U,nl  ,1,  ,,,-ii(/r).i,   <ni    IS  h.iiil  h.'dr 


ABCDEFGHIJKLMNOPQRSTVVWXYZ& 

ahcdefghijklmnopqrsluCWxyz 
1 234567890  ^";?;  Va  Ve  Vo  Wa  We  Wo  Ya  Ye  Yo 

Matrix  J  uioinuit  ion  .   2i)/\)7.    Lower  case  alplialiet,   195  puint-..    Fi^urcN.   .l.iK.i.    Runs  iii   7_'  thaniifl   inaKaziiit-;  aN.>  lowt-r  case 
in  cap  channels  of  90  cliannel  magazine  with  caps  and  tiRiires  in  34  chainiel  auxiliary  niana/ine.  ("ode  word,  IVOC 


-(LINOTYPE"")- 


HOW  ISONETO  ASSESS  ANY  TY  24 

How  is  one  to  assess  and  evaluate  a  type  face 
in  terms  of  its  esthetic  design?  Why  do  pace- 
makers in  the  printing  art  raVe  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is 
it  so  superlatively  pleasant  to  the  eyes?  Good 
design  1234567890  ($,.:;'-' ?!fiflffffiffi) 

ABCDEFGHIJKLMNOPQRSTUV 

WX  YZ&  abcdefghijklmnopqrstuvwxyz 
FA  PA  Ta  Te  To  TrfuTiO  Ve  Vi  We  Wi  Ye 

Matrix  Jnlnyfuaticn  .  J4A1^'^-  l.'Hver  case  alphabet,  24'i  ptiinls.  FiBures,  .l(>(>.  Kuns  in  /"J  channel  inaga/ine;  alst>  lower  case 
in  cap  channels  of  90  channel  inaK-'i/ine  w  illi  caps  and  lignres  in  M  channel  auxiliary  magazine,  ('ode  word.  IVUD. 


227 


CHELTENHAM   ITALIC 


30 


HOW  IS  ONE  TO  ASSESS  A 

Hou)  is  one  to  assess  or  evaluate  type 
faces  in  terms  of  their  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of 
printing  acclaim  a  specific  type  face? 
What  do  they  see  in  it?  Why  is  it  so 
pleasant  to  their  eyes?  Good  design  is 
always  practical  design.  And  what  is 
seen  in  a  good  type  design  is,  partly, 
its  excellent  practical  fitness  to  do  its 
Work.  It  has  a  ''heft'' and  balance  in 
all  of  its  parts  just  right  for  its  size,  as 
a  good  tool  has.  Your  good  chair  has 

ABCDEFGHijKLMNOPQR 
STUVWXYZ& 

abcdefghijklmnopqrstuvwxyz 

1 2345  ($, . :;-  ?  mmm)  67890 

Matrix  hijormation  :  30Ay7-  1-ower  case  alphabet.  300  points.  Figures,  .2075.  Runs  in  Wide  71  channel  magazine;  also  lower 
case,  except  m  and  w,  in  cap  channels  of  90  channel  niagazijie  with  caps  and  tijicures  in  Wide  34  channel  auxiliary  magazine. 
Code  word,  IVUS. 


228 


CHELTENHAM  WIDE  with  BOLD 

fi  I'..int    KiAIWll  l,n«fi  ..isL-  ali.li.il.ct,   nil   puiiits.   l-iKiiri-s.  .Ir'\ 

now  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace -ma  12  34 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-ma  1234 
8  Pniiif  (XAI^i-)  I.t.wcr  c.-isc  .-ilpli.-ilu-t.  11=.  i.c.jnts.  lMi;urcs.  ,(i(,v.; 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  t  12  34 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  t  1234 

1(1  I'.iiTil    nnAl,14)  l.cwer  <asc  .iliih.-il,,-!.  i  .iS  iHiints.   lMt;iiri-s.  .(I.H.I 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  desi  1  2  34 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  desi  1234 

IJ  rciint    (IJA>-'H)  I, I, WIT  ..LSI-  :il|,li.-il,,.t.    1=  i  ponils.    l-imircs.  Jiy'i') 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esth  1  234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  In  terms  of  its  esth  1234 

14  l'..int   (WAlii)  l,.,uir  I, IS,-  al|,li,ili,l,   lyi  I... nits.    Imnr.-s,  .  1  l(;7 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  ter  1  234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  ter  1234 


CHELTENHAM  COND,  with  BOLD  COND. 

8  Point   (.XAlfif.l  I  .iwiT  lasi-  ;,l|ili.-,lH-t.    '=  i..i,„t,.   l-imni-s.    ll=-.l 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  i  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  i  1234 

10  r.iint   (lliAl-tJ)  L.iwer  case  alplialict.  117  points.  Fi,i;iii-fs,    IV.>)2 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  7  Why  do  1 234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  1234 

IJ  Point    (1JA''41  Lower  CISC  alphahft.  1,!,!  points     l',,;ni-cs,    li«.i 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  1 234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  1 234 

M  P..int    (14.{:,4J1  l.owei CISC  alpli.ilii-t.   ] -•< nils.   I'lKUics,  .lio,„'< 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  est  1  234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  est  1234 

HOW  IS  one  to  assess  and  evaluate  a  type  face  in  terms  of  i  1 2 

24  Point  (24A5!^)  Lower  rase  alpliabet.  2\')  points.  FiKiires.  .11(17 

HOW  IS  one  to  assess  and  evaluate  a  type  face  i  1 2 

Ml  Lomt   (/1(IA1>'7I  Lower  case  alplialict.  J(,4  points.   I'it;iircs.     I'M? 

HOW  IS  one  to  assess  and  evaluate  a  1 1 2 


CHELTENHAM  EXTRA  COND.  ITALIC 

jX  I'.iint    (IS'.AJd'n  I  ower  i.is,-  .,lpl,.il„t.    I  7  i  p. 


HOW  IS  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  12 

24  Point    (J4Al'>-s)  Lower  case  aliili.ilic-t .  JJ7  points,   l-inures.  .1107 

HOW  IS  one  to  assess  and  evaluate  a  type  fac  12 

.10  Point    (.ill.Allill  I  ow<T  ,.is<-  .ilpli.iliel.  .'yi  points     I-114UI.-I.     IJI":  ,'  to  (1.   .1  SSI 

HOW  IS  one  to  assess  and  evaluate  a  12 


Comparison 
of  Sizes 


229 


CHELTENHAM  WIDE  with  BOLD 


8 


0 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WH 
DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  OF  TYPE?  WHA 
How  is  one  to  assess  and  evaluate  a  type  face  in  How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace-mak-  terms  of  its  esthetic  design?  Why  do  the  pace-mak- 
ers in  the  art  of  printing  rave  over  a  specific  face  of  ^^g  in  the  art  of  printing  rave  over  a  specific  face  of 
type?    What  do  they  see  m  it?    Why  is  it  so  super-  ,   ^j^^^  j„  ^^ey  see  in  it?   Why  is  it  so  super- 

latively  pleasant  to  their  eyes?   Good  design  is  al-         ,■' "      ,         ,  ■'    ,     .  ■,   ^       j    i      ■         ■        , 

ways  practical  design.  And  what  they  see  in  a  good  latively  pleasant  to  their  eyes?  Good  design  is  al- 
type  design  is,  partly,  its  excellent  practical  fitness  ways  practical  design.  And  what  they  see  in  a  good 
to  perform  its  work.  It  has  a  "heft"  and  balance  in  type  design  is,  partly,  its  excellent  practical  fitness 
all  of  its  parts  just  right  for  its  size,  as  any  good  to  perform  its  work.  It  has  a  "heft"  and  balance  in 
tool  has.  Your  good  chair  has  all  of  its  parts  made         gji  ^f  j^s  parts  just  right  for  Its  size,  as  any  good 

nicely  to  the  right  size  to  do  exactly  the  work  that         4. 1  1  ^      v .. j  ^k.^;..  v....  .,11  ^(  i¥^ ...v..  ^^^^^ 

,,        ^.               ..*'                     J           i»'i           t          ■  tool  has.   Your  good  chair  has  ail  ot  its  parts  made 

How  is  one  to  assess  and  evaluate  a  type   face  m  ■      ,      ..     ^1         •    i_..     •       ^      j               ..,      »i.              1    ^u    ^ 

terms  of  its  esthetic  design?  Why  do  the  pace-mak-  "'=<=Iy  to  the  right  size  to  do  exactly  the  work  that 

ers  in  the  art  of  printing  rave  over  a  specific  face  of  the  chair  has  to  do.  neither  clumsy  and  thick,  nor 

(solid)  (one  point  leaded) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&; 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyz 
abcdefghijklmnopqrstuvwxyz 

12345  ($£..:;•-•?  !*t]:§lififlffffiffi)  67890 
12345  ($£,.:  ;'-'?!*t*§11finffffiffI)  67890 

Matrix  Information :  6A180.  Lower  case  alphabet.  101  points.  Figures.  .05S.^:  comma,  period  and  thin  space.  .0277.  Runs  in  90 
channel  magazine.  Code  word.  IWHA. 

(„.oE  LINOTYPE"'") 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC 
DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPE 

How  is  one  to  assess  and  evaluate  a  type  face  How  is  one  to  assess  and  evaluate  a  type  face 

in  terms  of  its  esthetic  design?   Why   do  the  in  terms  of  its  esthetic  design?   Why  do  the 

pace-makers  in  the  art  of  printing  rave  over  pace-makers  in  the  art  of  printing  rave  over 

a  specific  face  of  type?  What  do  they  see  in  ^  specific  face  of  type?  What  do  they  see  in 

it?  Why  IS  it  so  superlatively  pleasant  to  their  ■.-,  \y/u      ■     ■•.  i    i-       1        1  »  ^     iL    • 

.   /,        11..       I  .-ii.  It?   Why  IS  It  so  superlatively  pleasant  to  their 

eyes?  ijood  design  is  al'ways  practical  desiern.  .„        ii-        -i  .11. 

u         •  .  J         t      t.        M.  c  eyes:*  (jood  design  is  always  practical  desis^n. 

How  IS  one  to  assess  and  evaluate  a  type  face  ajll  i 

in  terms  of  its  esthetic  design?  Why  do  the  '^"'^  ^^^*  ^'^^V  *^^  '"  ^  8°°^  ^VP^  design  is. 
pace-makers  in  the  art  of  printing  rave  over        partly,   its  excellent  practical  fitness  to  per- 

( solid)  '""'"  fio'"'  leaded) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&c 
ABCDEFGHIJKLMNOPQRSTUVWXYZ«&: 

abcdefghijklmnopqrstuvwxyz 
abcdefghijklmnopqrstuvwxyz 

12345  ($£,.:;--'?!*tt§flfiflffffiffl)  67890 
12345  ($£,.:;'-'?!*t1:§  ^  flflffffiffl)  67890 

Matrix  Information :  8A156.  Lower  case  alphabet.  115  pnints.  iMRures.  .0692;  coniina.  perind  and  thin  space,  .0346.  Runs  in  90 
channel  magazine.  Code  word.  IWIC. 


-(''tLINOTYPE"')- 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design 
is  always  practical  design.  And  what  they  see  in  a  good  type  design  is,  partly,  its 
excellent  practical  fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of 
its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  ?  Why 
do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type  ?  What 

(tzt'o  point  leaded) 

ABCDEFGH1JKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyz 

abcdefghijklmnopqrstuvwxyz 

12345  ($£,.:;'-'?!*tt§^fiflffffiffl)  67890 
12345  ($£,.:;*-'?!*! t§  ^fiflffffiffl)  67890 

Matrix  Information:  10A134.  Lower  case  alphabet,  135  points.  Figures,  .0S3;  comma,  period  and  linn  space,  .0415.  Runs  in  90 
channel  magazine.  Code  word,  IWJE. 


230 


CHELTENHAM   WIDE   with   BOLD 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TE     12 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant 
to  their  eyes?  Good  design  is  always  practical  design.  And  what  they  see 
in  a  good  type  design  is,  partly,  its  excellent  practical  fitness  to  perform 
its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely 
to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither 
clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of  material  and  no 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific 

Ihvu  point  IcitdcJ} 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyz 
abcdefghijklmnopqrstuvwxyz 

12345  ($£,.:  ;'-'?!n$§^f^flffffiffl)  67890 
12345  ($£,.:;'-'?!*U§^fiflffffiffl)  67890 

Matrix  Iiifdrmativn  :  1JAX8.  Lower  c.'ise  alphabet.  153  points.  FiKuros.  .(IXW;  eoninia.  period  and  thin  space.  .044'*.  Rnns  in  90 
thaniiel  ni.iKa/ine.  l'o<lc  word.  IWKr. 


(LINOTYPE"') 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  1 4 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its 
esthetic  design  ?  Why  do  the  pace-makers  in  the  art  of  print- 
ing rave  over  a  specific  face  of  type  ?  What  do  they  see  in  it  ? 
Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  de- 
sign is  always  practical  design.  And  vv^hat  they  see  in  a  good 
type  design  is,  partly,  its  excellent  practical  fitness  to  per- 
form its  w^ork.  It  has  a  "heft"  and  balance  in  all  of  its  parts 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its 
esthetic  design?  Why  do  the  pace-makers  in  the  art  of  print- 

(t7C(i  point  IradcJ) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvw^xyz 

abcdefghijklmnopqrstuvwxyz 
12345  ($£,.:;V?!^tJs^qfiflffffiffl)  67890 
12345  ($£,.:;'-*?!^tt§^fiflffffiffl)  67890 

Matrix  Inloruuitioi,     l.|,\-lll    l.,.wci    ,  .is.-  .ilphaliel.    IH'I  jioinl-..    I-'icine-..     1107:  lonuna.  iK-rnKl  an.l  linn  spare.   .055.!.   Knns  in  90 
iIi.Minel  in.iKa/ine.  (  ..ile  w.tiI.   IVVl.C). 


231 


CHELTENHAM   COND.   with  BOLD   COND. 


8 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY 
DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  OF  TYPE?  WHAT  D 


How  IS  one  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in  the 
art  of  prmting  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant 
to  their  eyes?  Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design  is,  partly,  its 
excellent  practical  fitness  to  perform  its  work.  It  has 
a  "heft"  and  balance  in  ail  of  its  parts  just  right  for 
its  size,  as  any  good  tool  has.  Your  good  chair  has  all 
of  its  parts  made  nicely  to  the  right  size  to  do  exactly 
the  work  that  the  chair  has  to  do,  neither  clumsy  and 
thick,  nor  "skinny"  and  weak,  no  waste  of  material 
and  no  lack  of  strength.  And,  beyond  that,  the  chair 
may  have  been  made  by  a  man  who  worked  out  in  it 
his  sense  of  fine  shapes  and  curves  and  proportions; 
it  may  be,  actually,  a  work  of  art.  The  same  thing 
holds  for  shapes  of  letters.  And  your  chair,  or  your 
letter  (if  a  true  artist  made  it)  will  have,  besides  its 
How  is  one  to  assess  and  evaluate  a  type  (ace  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  of  type?  What 
(solid ) 


How  is  one  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant 
to  their  eyes  ?  Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design  is,  partly,  its 
excellent  practical  fitness  to  perform  its  work.  It  has 
a  "heft  and  balance  in  all  of  its  parts  just  right  for 
Its  size,  as  any  good  tool  has.  Your  good  chair  has  all 
of  its  parts  made  nicely  to  the  right  size  to  do  exactly 
the  work  that  the  chair  has  to  do,  neither  clumsy  and 
thick,  nor  "skinny"  and  weak,  no  waste  of  material 
and  no  lack  of  strength.  And,  beyond  that,  the  chair 
may  have  been  made  by  a  man  who  worked  out  in  it 
his  sense  of  fine  shapes  and  curves  and  proportions: 
it  may  be,  actually,  a  work  of  art.  The  same  thing 
holds  for  shapes  of  letters.  And  your  chair,  or  your 
letter  (if  a  true  artist  made  it)  will  have,  besides  its 
good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in, 
I  I'ttc  f'oint  leaded) 


ABCDEFGH1JKLMN0PQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyz 

abcdefghijklmnopqrstuvwxyz 

12345  ($£,.:  ;'-'?!*tt§^fiflffffiffl)  67890 

12345  ($£,.:  ;'-'?  !*n§<Ififlffffiffl)  67890 


Matrix  Information :  8A166.  Lower  case  alphabet, 
channel  magazine.  Code  word,  IVYF. 


95  points.  Figures.  .0553;  comma,  period  and  thin  space.  .0277.  Runs  in  90 


-(>  tLiNOTYPE""> 


I  0      HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETI 
DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  S 


How  is  one  to  assess  and  evaluate  a  type  face 
in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  m  the  art  of  prmting  rave  over 
a  specific  face  of  type?  What  do  they  see 
in  it?  Why  is  it  so  superlatively  pleasant  to 
their  eyes?  Good  design  is  always  practical 
design.  And  what  they  see  in  a  good  type  de- 
sign IS,  partly,  its  excellent  practical  fitness 
to  perform  its  work.  It  has  a  "heft"  and  bal- 
ance in  all  of  its  parts  just  right  for  its  size, 
as  any  good  tool  has.  Your  good  chair  has  all 
of  its  parts  made  nicely  to  the  right  size  to  do 
exactly  the  work  that  the  chair  has  to  do. 
How  is  one  to  assess  and  evaluate  a  type  face 
in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over 

( solid  i 


How  IS  one  to  assess  and  evaluate  a  type  face 
in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over 
a  specific  face  of  type?  What  do  they  see 
in  it?  Why  is  it  so  superlatively  pleasant  to 
their  eyes?  Good  design  is  always  practical 
design.  And  what  they  see  in  a  good  type  de- 
sign IS,  partly,  its  excellent  practical  fitness 
to  perform  its  work.  It  has  a  "heft"  and  bal- 
ance in  all  of  its  parts  just  right  for  its  size, 
as  any  good  tool  has.  Your  good  chair  has  all 
of  its  parts  made  nicely  to  the  right  size  to  do 
exactly  the  work  that  the  chair  has  to  do, 
neither  clumsy  and  thick,  nor  "skinny"  and 
weak,  no  waste  of  material  and  no  lack  of 


love  point  leaded) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyz 

abcdefghijklmnopqrstuvwxyz 
12345  ($£,.:  ;'-'?!*n§^fiflffffiffl)  67890 
12345  ($£,.:  ;*-'?!=•  ft^fiflffffiffl)  67890 


Matrix  hxjormation  :  ]nA142.  Lower  case  alphabet.  117  points.  Figures,  .0692;  comm; 
channel  magazine.  Code  word,  IVYM. 


period  and  thin  space,  .0346.  Runs  in  90 


232 


CHELTENHAM   COND.   with   BOLD   COND. 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  EST  ]  2 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is 
always  practical  design.  And  what  they  see  in  a  good  type  design  is,  partly,  its  ex- 
cellent practical  fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its 
parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts 
made  nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither 
clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of  material  and  no  lack  of 
strength.  And,  beyond  that,  the  chair  may  have  been  made  by  a  man  who  worked 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What 

./:l',.  p.niit  1,11,1.  .1  > 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKL1VIN0PQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyz 
abcdefghijklmnopqrstuvwxyz 

1 2345  ($£,. :;'-'?!  ni:§  •!  fiflffffiffl)  67890 
1 2345  ( $£,. :;'-'?!  *n§  <I  fiflffffiffl)  67890 

Matrix  hitunmitiuli  :   1JA''-1.   Lower  lu.sl-  .ilplialiel.    l.ij  points.    liKiiiis.    Iix.i;  cuiiirii;i.  perM.I  anrl  lliiii  spare.  .041S.   Runs  in  90 
L-hanncl  iiKiKa/im-    I  .  ide  wnrd.  IVZE. 


(LINOTYPE"   ) 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  1 4 
How  IS  one  to  assess  and  evaluate  a  type  face  m  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  spe- 
cific face  of  type?  What  do  they  see  m  it?  Why  is  it  so  superlatively 
pleasant  to  their  eyes?  Good  design  is  always  practical  design.  And 
what  they  see  in  a  good  type  design  is,  partly,  its  excellent  practical  fit- 
ness to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts 
just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  spe- 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyz 
abcdefghijklmnopqrstuvwxyz 

1 2345  ($£,.:  ;'-'?! ^t Js^  ^  f^flflffiffl)  67890 
1 2345  ($£,.:;'-'? !^t$§  ^  fiflffffiffl)  67890 

Matrix  lnj„rm,iti„n     MA-*-'    l-""er  ..is,-  .ilpluibel.   1,%  puints.   Figures.   Afii.i<:  I'.inni.i.  period  .in<i  llliii  sp.iee.  .(I4M.   Runs  in  90 
eli.Mniel  n.^iK-i/ine.  Cede  «urd.   IWAH. 


232  a 


CHELTENHAM  CONDENSED 


1 8  HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FA 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its 
esthetic  design?  Why  do  the  pace-makers  in  the  art  of  print- 
ing rave  over  a  specific  face  of  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design 
is  always  practical  design.  And  what  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fitness  to  perform  its 
work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for 
its  size,  as  any  good  tool  has  1 234567890  ($,.:;'-'?!flflfffflffl) 


(tji.u,  foitil  Irodcdl 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyz 

Matrix  Information :  1SA99.  Lower  case  alphabet.  172  points.  FiRures,  .1107.  Runs  in  90  channel  magazine.  Code  word,  IWAZ. 

(""LINOTYPE"") 

24  HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  AT 

How  can  any  one  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  pace-makers 
in  the  printing  art  rave  over  a  specific  face  of  type? 
What  do  they  see  in  it?  Why  is  it  so  pleasant  to  the 
eyes?  Good  design  is  always  practical  design.  And 
what  they  see  in  any  good  type  design  is,  partly,  its 
excellent  practical  fitness  to  perform  its  work.  It 
has  a  "heft"  and  bala  1 234567890  ($,:;'-'?!fiflff ffiffl) 


rfTt'.i  l^.niit  Iradrd) 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyz 

Matrix  Information  :  24A55.  Lower  case  alphabet.  219  points.  Figures.  .1107.  Runs  in  90  channel  magazine.  Code  word.  IWBE. 


232  b 


CHELTENHAM  CONDENSED 

30 


HOW  IS  ONE  TO  ASSESS  AND  EVAL 

How  IS  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  type  face?  What  do 
they  see  in  it?  Why  is  it  so  superlatively 
pleasant  to  their  eyes?  Good  design  is  al- 
ways practical  design.  And  what  they  see 
in  a  good  type  design  is,  partly,  its  excel- 
lent practical  fitness  to  perform  its  work. 
It  has  a  ''heft"  and  balance  in  all  of  its 
parts  just  correct  for  its  size,  as  any  good 
tool  has.  Your  good  chair  has  all  its  parts 
made  nicely  to  the  right  size  to  do  exactly 
the  w  1 234567890  ($,.:;'-'?!fiflffffiffl) 


(/?<i.>  /1, 1111/  Iriuli-dl 


ABCDEFGHIJKLMNOPQRSTUVWX 

YZ&  abcdefghijklmnopqrstuvwxyz 

Matrix  hifcnjiiati.n,  .    3(lA]^''7-    K'-v\t-r   lasc  ,.l|.h..l.«-l .    Jo-1    p.. nils     I-ikuh-s.    .I''.i7-    Kmis  m    7J   ,li.iMn<.-I   maK.i/ine;   alsu  K.wer  ca< 
in  cap  cliaiineU  of  '.'(I  thaiiiiul  inaj^a/iiie  witli  taps  and  figures  in  .M  (.hannol  auxiliary  ina^a/iiie.  t'-uU-  wi.rd.    IWCI. 


233 


CHELTENHAM   EXTRA  COND.  ITALIC 


1 8   HOW  IS  Om  TO  ASSESS  AM  TYPE  IN  TERMS  OF  ITS  E 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its 
esthetic  design?  Why  do  the  pace-makers  in  the  art  of  printing 
raVe  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why 
is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  al- 
ways practical  design.  And  what  they  see  in  a  good  type  design 
is,  partly,  its  excellent  practical  fitness  to  perform  its  Work.  It 
has  a  "heft" and  balance  in  all  of  its  parts  just  right  for  its  size, 
as  any  good  tool  has.  Your  good  chair  has  all  ($,.:;'-?!fiflffffiffl) 

ABCDEFGHIJKLMmPQRSWVWXYZ& 

abcdefghijklmnopqrstuvwxyz 
1234567890  -?-  FA  PA  Va  Ve  Vo  Wa  We  Wo  Ya  Ye  Yo 

Matrix  Information  :  18A209.  Lower  case  alphabet.  173  points.  Ficures.  .0.8,1.  Runs  in  90  channel  magazine.  Code  word,  IWEJ. 

(,..„.  LI  NOT  YPE""0 

24  HOW  IS  om  TO  ASSESS  AM  TYPE  INTER 

How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  raVe  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  de- 
sign is  always  practical  design.  And  what  they 
see  in  a  good  type  design  is,  partly,  its  excellent 
practical  fitness  to  perform  i  ($,.:;'-?!fHlffffiffl) 

(solid  I 

ABCDEFGHI]KLMmPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyz 
1234567890  -:  Va  Ve  Vo  Wa  We  Wo  Ya  Ye  Yo 

Matrix  Information :  24A165.  Lower  case  alphabet,  227  points.  Figures.  .1107.  Runs  in  90  channel  magazine.  Code  word.  IWFU. 


234 


CHELTENHAM   EXTRA  COND.  ITALIC 


HOW  IS  Om  TO  ASSESS  AM  TYP  '' 

How  can  any  one  assess  and  evaluate 
a  type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  pace-mahers  in  the  art  of 
printing  rave  over  specific  type  faces? 
Whatdothey  seeinthem?  Why  are  they 
so  superlatively  pleasant  to  their  eyes? 
Good  design  is  ever  a  practical  design. 
And  what  is  seen  in  a  good  type  design 
is,  partly,  its  excellent  practical  fitness 
to  perform  its  Work.  It  has  a  ''heft'' and 
balance  in  all  of  its  parts  just  right  for 
its  size,  as  any  good  tool  has.  The  good 
chair  has  all  of  itsp(t:;'?M 

ABCDEFGHIJKLMmPQRSTUVW 

XYZ&  ahcdefghijhlmnopqrstuvwxyz 

12345678%  ^^^  FA  PA 

Matrix  Inlormiitimi :  .IdAHH.  lower  lase  .•iliili;iliet.  ^X.i  |i,iiiils  l-iKiirr  1.  l.M?:  J  to  0,  .l.W.!.  Runs  in  72  channel  ni;»;a/iiie ; 
also  lower  case  in  cap  channels  of  90  chanTiel  iiiaga/iiie  wilh  caps  and  tinnres  in  .i4  channel  auxiliary  maga/ine.   ('o(ie  word. 

iwr.Y. 


235 


CHELTENHAM   MEDIUM  COND. 


8  HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  F 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its 
esthetic  design?  Why  do  the  pace-makers  in  the  art  of  print- 
ing rave  over  a  specific  face  of  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design 
is  always  practical  design.  And  what  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fitness  to  perform  its 
work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right 
for  its  size,  as  any  good  tool  h  1234567890  ($,.:;^-7!fiflffffiffl) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
abcdefghijklmnopqrstuvwxyz 


24 


Matrix  Injorniation :   18A389.   Lower  case  alphabet,    176  points.    Fitjnres.    .1107.    Runs  in  90  channel   magazine.    Code  word. 
ZESAT. 


-("°  LINOTYPE "> 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A 

How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  de- 
sign is  always  practical  design.  And  what  they 
see  in  a  good  type  design  is,  partly,  its  excellent 
practical  fitness  to  p  1234567890  ($,:;^-7!fiflffffiffl) 

(tu«}  f'int  Iradeill 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyz 

Matrix  Information:  24A331.  Lower  case  alphabet,  229  points.  Figures,  .1107.  Runs  in  90  channel  magazine.  Code  word, 
ZEPUP. 


236 


CHELTENHAM   MEDIUM   COND. 

HOW  IS  ONE  TO  ASSESS  AND  EVAL  '' 

How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  type  face?  What  do 
they  see  in  it?  Why  is  it  so  superlatively 
pleasant  to  their  eyes?  Good  design  is  al- 
ways practical  design.  And  what  they  see 
in  a  good  type  design  is,  partly,  its  excel- 
lent practical  fitness  to  perform  its  work. 
It  has  a  "heft"  and  balance  in  all  its  parts 
just  right  for  its  size,  as  any  good  tool  has. 
Your  good  chair  has  all  of  its  parts  made 
nicely  to  the  right  size  to  do  exactly  the 
work  that  the  ch  1234567890  ($,.:;'-'?!) 

ABCDEFGHIJKLMNOPQRSTUVW 

XYZ&  abcdef  ghijklmnopqrstuvwxyz 

Matrix  hiiin  }iuituin  :  .«)A-53.  Lower  c.ise  allili;il>i.-l .  J7-'  iioiiils.  Fimire  I.  ,1.1X1:  J  tn  n.  ATIH.  Runs  in  7J  Lliaiiiicl  lu.ma/ilie: 
also  lower  i-a^f  in  tap  iliamiels  ni  'iii  ,liannel  niana/iiu.  with  i  ajis  ami  tn;iiias  in  34  tlianm-1  anxiliaiy  nKma/iiie.  C.i.lc  wnril. 
ZEPVl. 


237 


of  Sizes 


CHELTENHAM  BOLD  with  ITALIC 

C«  6  Point  (6A162)  Lower  case  alphabet.  100  points.  Figures.  .0553 

OtnpCLYtSOIX         HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-male  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Wfiy  do  tf>e  pace-mak  1234 

8  Point  (RA6n)  Lower  case  alphabet.  IJIl  points.  FiKures.  .059^ 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  ]Vhy  1234 

10  Point  (10A8-')  Lower  case  alphabet.  150  points.  Fienres.  .083 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthet  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthet  1234 

11  Point  (llAlOfil  Lower  case  alphabet,  151   points.  Figures.  .08.1 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthe  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthe  1234 

IJ  point  |12A4(.)  Lower  case  alphabet.  l(.-l  points.  Figures.  .0899 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  1234 

14  Point  (14A.?I>I  Lower  case  alphaliet.  197  points.  Figures.  .1107 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  1 1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  1 1234 

18  Point  (18A97)  Lower  case  alphabet.  229  points.  Figures.  .1107 

HOW  IS  one  to  assess  and  evaluate  a  type  fac  12 

24  Point  i24/s7S)  Lower  case  alphaliet.  297  points.  Figures.  .1798 

HOW  IS  one  to  assess  and  evalua  1 2 

30  Point  No.  2  (30A151)  Lower  case  alphabet.  357  points.  Figures.  .2075 

HOW  IS  one  to  assess  and  e  1 2 

36  Point  (36A33)  Lower  case  alphabet.  430  points.  Figures.  .249 

HOW  IS  one  to  assess  12 

1.S  Point  Italic  (18A175)  Lower  case  alphabet.  244  i).,ints.  Figure  1.  .1383:  2  to  0.  .1522 

HOW  IS  one  to  assess  and  evaluate  a  typ  12 

24  Point  Italic  (24A117)  "  Lower  case  alphabet,  299  points.  Figures,  .1937 

HOW  IS  one  to  assess  and  evalua  12 

30  Point  Italic  (30A''5)  Lower  case  alphabet.  376  points.  Figure  1.  .1798;  2  to  0,  .2352 

HOW  IS  one  to  assess  and  12 


-('""LINOTYPE""  >- 


LIST   OF   CHARACTERS  AVAILABLE    IN    TWO-LETTER    FONTS 

ABCDEFGHIJKLMNOPQRSTUVWXYZ 

ABCDEFGHIJKLMNOPQRSTUVWXYZ 

12345        abcdefghijklmnopqrstuvwxyz        67890 

12345       abcdefg/iijklmnopqrstuvwxyz       67890 

)*"._/ECElfc&£$aeoe  ...fiflffffiffl 

)'^".  —  /E(Elb&£$csce  .  ..  Rfiffffim 

Larger  sizes  shown  in  A-P-L  section 


:  ;?!  ( 
:  ;  ?  !  ( 


237  a 


CHELTENHAM  BOLD  with  ITALIC 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  W 
DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  OF  TYPE?  WH 


How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace-mak- 
ers in  the  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it  so  superla- 
tively pleasant  to  their  eyes?  Good  design  is  always 
practical  design.  And  what  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fitness  to 
perform  its  work.  It  has  a  "heft"  and  balance  in  all 
of  its  parts  just  right  for  its  size,  as  any  good  tool 
has.  Your  good  chair  has  all  of  its  parts  made  nicely 
to  the  right  size  to  do  exactly  the  work  that  the 
chair  has  to  do,  neither  clumsy  and  thick,  nor 
"skinny**and  weak,  no  waste  of  material  and  no  lack 
of  strength.  And,  beyond  that,  the  chair  may  have 
been  made  by  a  man  who  worked  out  in  it  his  sense 
of  fine  shapes  and  curves  and  proportions:  it  may 
be,  actually,  a  work  of  art.  The  same  thing  holds  for 
shapes  of  letters.  And  your  chair,  or  your  letter  (if 
a  true  artist  made  it)  will  have,  besides  its  good 
looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or 
stamped  on  paper  and  read.  That  explains,  in  a  way, 
why  the  experts  rave  over  the  fine  shapes  of  letters; 
but  it  fails  to  explain  wherein  the  shapes  are  fine. 
If  you  seek  to  go  further  with  the  inquiry,  theories 
will  be  your  only  answer.  Here  is  a  theory  that  the 
proponent  thinks  may  have  sense  in  it:  Fine  type 
letters  were,  in  the  first  place,  copies  of  fine  written 
letters.  Fine  written  letters  were  fine  because  they 
How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  estfietic  design?  Wfiy  do  tf%e  pace-mak- 
ers in  tf\e  art  of  printing  rave  over  a  specific  face  of 
i  solid  I 


How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace-mak- 
ers in  the  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it  so  superla- 
tively pleasant  to  their  eyes?  Good  design  is  always 
practical  design.  And  what  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fitness  to 
perform  its  work.  It  has  a  "heft"  and  balance  in  all 
of  its  parts  just  right  for  its  size,  as  any  good  tool 
has.  Your  good  chair  has  all  of  its  parts  made  nicely 
to  the  right  size  to  do  exactly  the  work  that  the 
chair  has  to  do,  neither  clumsy  and  thick,  nor 
"skinny"and  weak,  no  waste  of  material  and  no  lack 
of  strength.  And,  beyond  that,  the  chair  may  have 
been  made  by  a  man  who  worked  out  in  it  his  sense 
of  fine  shapes  and  curves  and  proportions:  it  may 
be,  actually,  a  work  of  art.  The  same  thing  holds  for 
shapes  of  letters.  And  your  chair,  or  your  letter  (if 
a  true  artist  made  it)  will  have,  besides  its  good 
looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or 
stamped  on  paper  and  read.  That  explains,  in  a  way, 
why  the  experts  rave  over  the  fine  shapes  of  letters; 
but  it  fails  to  explain  wherein  the  shapes  are  fine. 
If  you  seek  to  go  further  with  the  inquiry,  theories 
will  be  your  only  answer.  Here  is  a  theory  that  the 
proponent  thinks  may  have  sense  in  it:  Fine  type 
letters  were,  in  the  first  place,  copies  of  fine  written 
I. 'lit-  p,-tnt  leaded  i 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTVVWXYZ& 

abcdefghijklmnopqrstuvwxyz 

abcdef  gfiijklmnopqrstuvwxyz 

12345  ($£,.:  ;*-'?!*t1:§!ififlffffiffl»  67890 

12345  ($£,.:;'-'?!*Jt^'i\fififfffiffl)  67890 

Matrix  Jnjurmation  :  6l\\fi2.  I,<>vver  case  alphabet.  lOn  i>"iiits.  Figures,  .0553;  c<> 
cliaime]  iiiaKa/ine.  Tnde  word.  TWMU. 


period  and  thin  space.  .0277.  Runs 


-(LINOTYPE    ■)- 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHE 
DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A 


8 


How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design?  Why  do 
the  pace-makers  in  the  art  of  printing  rave 
over  a  specific  face  of  type?  What  do  they 
see  in  it?  Why  is  it  so  superlatively  pleasant 
to  their  eyes?  Good  design  is  always  practi- 
cal design.  And  what  they  see  in  a  good 
type  design  is,  partly,  its  excellent  practical 
fitness  to  perform  its  work.  It  has  a  "heft" 
and  balance  in  all  of  its  parts  just  right  for 
its  size,  as  any  good  tool  has.  Your  good 
chair  has  all  of  its  parts  made  nicely  to  the 
right  size  to  do  exactly  the  work  that  the 
chair  has  to  do,  neither  clumsy  and  thick, 
nor  "skinny"  and  weak,  no  waste  of  mate- 
rial and  no  lack  of  strength.  And,  beyond 
that,  the  chair  may  have  been  made  by  a 
man  who  worked  out  in  it  his  sense  of  fine 
shapes  and  curves  and  proportions:  it  may 
How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design  ?  Why  do 
the  pace-makers  in  the  art  of  printing  rave 

I  sniiil  I 


How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design?  Why  do 
the  pace-makers  in  the  art  of  printing  rave 
over  a  specific  face  of  type?  What  do  they 
see  in  it?  Why  is  it  so  superlatively  pleasant 
to  their  eyes  ?  Good  design  is  always  practi- 
cal design.  And  what  they  see  in  a  good 
type  design  is,  partly,  its  excellent  practical 
fitness  to  perform  its  work.  It  has  a  "heft" 
and  balance  in  all  of  its  parts  just  right  for 
its  size,  as  any  good  tool  has.  Your  good 
chair  has  all  of  its  parts  made  nicely  to  the 
right  size  to  do  exactly  the  work  that  the 
chair  has  to  do,  neither  clumsy  and  thick, 
nor  "skinny"  and  weak,  no  waste  of  mate- 
rial and  no  lack  of  strength.  And,  beyond 
that,  the  chair  may  have  been  made  by  a 
man  who  worked  out  in  it  his  sense  of  fine 
shapes  and  curves  and  proportions:  it  may 
be,  actually,  a  ■work  of  art.  The  same  thing 


(  ,inr  f'ii't  leaded) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyz 

abcdefghijklmnopqrstuvwxyz 

12345  ($£,.:;'-'?!    t1:§11fiflffffiffl)  67890 
J234S  ($£,.:;'-'?!    ii^^fiflffffiffl)  67890 


Matrix  Information:  8A60.  I.ciwer  imm- 
channel  magazine.  Code  word,  IWNY. 


■illjli.ibct.   I_'(l  imiiils.    I'igures.  .()(.'*_' 


tliiii  space.  .0346.   Runs  in  90 


237  b 


CHELTENHAM  BOLD  with  ITALIC 


10  HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS 
Howr  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant 
to  their  eyes?  Good  design  is  always  practical  design.  And  what  they  see 
in  a  good  type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its 
work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the 
right  size  to  do  exactly  the  w^ork  that  the  chair  has  to  do,  neither  clumsy 
and  thick,  nor  "skinny"  and  weak,  no  w^aste  of  material  and  no  lack  of 
strength.  And,  beyond  that,  the  chair  may  have  been  made  by  a  man  w^ho 
w^orked  out  in  it  his  sense  of  fine  shapes  and  curves  and  proportions :  it  may 
be,  actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of  letters.  And 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific 

It-MO  point  l,\idi-d) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvw^xyz 

abcdef  ghijklmnopqrstuvwxyz 

12345  ($£,.:  ;'-'?!*tt§1]fiflffffiffl)  67890 
12345  ($£,.:;'-'?  !-it§^fiflfffiRfn)  67890 

Matrix  Information :  10A82.  Lower  case  alphabet,  150  points.  Figures,  .083;  comma,  period  and  thin  space,  .0415.  Runs  in  90 
channel  magazine.  Code  word,  IWOD. 


HLINOTYPE'   ) 

1 1  HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERM 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to 
their  eyes?  Good  design  is  always  practical  design.  And  what  they  see  in 
a  good  type  design  is,  partly,  itj  excellent  practical  fitness  to  perform  its 
work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the 
right  size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy 
and  thick,  nor  "skinny"  and  weak,  no  waste  of  material  and  no  lack  of 
strength.  And,  beyond  that,  the  chair  may  have  been  made  by  a  man  who 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdef  ghijklmnopqrstuvwxyz 

abcdef  ghijklmnopqrstuvwxyz 

12345  ($£,.:;'-'?  !*tJ§  ^  fiflffffiffl)  67890 
12345  ($£,.: ;'-'?!'^n%  ^  fiflffffifli)  67890 

Matrix  Information:  nA106.  I,ower  case  alphabet.  151  points.  P'igures,  .083;  coninia.  period  and  thin  space.  .0415.  Runs  in  90 
channel  magazine.  Code  word.  IWOS. 


238 


CHELTENHAM  BOLD  with  ITALIC 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  INT  12 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic 
design?  Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a 
specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superla- 
tively pleasant  to  their  eyes?  Good  design  is  always  practical  de- 
sign. And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent 
practical  fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in 
all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  estfietic 
design?  Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyz 

abcdef  ghijklmnopqrstuvwxyz 

12345  ($£,.:  ;*-'?!m§<IfiflfFffiffl)  67890 
12345  ($£,.: ;'-'?!''n\^fififffHfll)67890 

FA  PA  TA  VA  WA  YA  VaVeVo  Wa  We  Wo  Ya  Ye  Yo 

Matrix  J iitoi  ination  .   iJA-^h.   Lower  case  alpli.ilicl.   l'>4  j-Mmts     M-mrs,   .n.xw-;  ,,iiniii.i,  ]>vtu"\  and  lliiii   s[,.u.t-.   ,ii44''     Runs  m  90 
channel  magazine.  Code  word,  IWUF. 


(LINOTYPE"  ') 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  14 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of 
its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of 
printing  rave  over  a  specific  face  of  type?  What  do  they 
see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes? 
Good  design  is  always  practical  design.  And  what  they 
see  in  a  good  type  design  is,  partly,  its  excellent  practical 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of 
its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyz 

abcdefghijklmnopqrstuvwxyz 

12345  ($£,.:  ;'-7!^t:l:^fiflffffiffl)  67890 

12345  ($£,.:  ;'-'?!''U^fiflffffifti)67890 


LOGOTYPES 


FA  PA  TA  VA  WA  YA  Va  Ve  Vo  Wa  We  Wo  Ya  Ye  Yo 


Matn.v  lnt,'>-wati-'>i      MA  !(l,    \...^^vv  v.i^^t-  .ili-li.tl-rl .    I'j 
thaiiiiel  niaga/ine.  Code  word,  IW'UM. 


239 


CHELTENHAM  BOLD 


18  HOW  IS  ONE  TO  ASSESS  AND  EVALUATE 
How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  pace-mak- 
ers in  the  printing  art  rave  over  a  specific  face 
of  type?  What  do  they  see  in  it?  Why  is  it  so  su- 
perlatively pleasant  to  their  eyes?  Good  design 
is  always  practical  design.  And  what  they  see  in 
a  good  type  design  is,  partly,  its  excellent  practi- 
cal fitness  to  perfor  1234567890  ($,.:;'-7!fiflffffiffl) 


(tifo  t^oint  h-ailfdl 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
abcdefghijklmnopqrstuvwxyz 

Matrix  Information :  18A97,  Lower  case  alphabet.  229  points.  Figures.  .1107.  Runs  in  90  channel  magazine.  Code  word.  IWYG. 


-(,0  cLINDTYPE""'> 


24  HOW  IS  ONE  TO  ASSESS  AND  EV 

How  is  one  to  assess  and  evaluate  a 
type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the 
printing  art  rave  over  a  specific  face 
of  type?  What  do  they  see  in  it?  Why 
is  it  so  superlatively  pleasant  to  their 
eyes?  1234567890  ($,.:^7!fiflffffiffl) 

(f.oo  point  leaded) 

ABCDEFGHIJKLMNOPQR 
STUVWXYZ& 

abcdefghijklmnopqrstuvwxyz 

Matrix  Information  :  24A75.  Lower  case  alphabet,  297  points.  Fisures.  .1798.  Runs  in  72  channel  magazine;  also  lower  case 
in  cap  channels  of  90  channel  magazine  with  caps  and  figures  in  J4  channel  auxiliary  magazine.  Code  word,  IWZA. 


240 


CHELTENHAM   BOLD 

30  No.  2 


HOW  IS  ONE  TO  ASSESS  AN 

How  IS  any  one  to  evaluate  and 
1234567890  ($,.:;V?!fiflfFffiffl) 

ABCDEFGHIJKLMNOPQR 
STUVWXYZ& 

abcdefghijklmnopqrstuvwxyz 

Matrix  Info)  mattnii      iDAlSi.    l.-.\ver  case  alphabet.  357  points.   Figures.   .J(i7.S.    Runs  in  Wide  72  channel  inaKa/ine;  also  li.wer 
case  in  cap  channels  itt  72  channel  niaKa/ine  willi  caps  and  tinures  in  Wide  34  channel  auxiliary  tnatja/ine.   Code  word.    IXHA. 


<°  LINOTYPE"") 

36 


HOW  IS  ONE  TO  ASSE 

How  is  £iny  one  to  aissess 
and  evaluate  a  t3rpe  1234 
567890  ( $,.:;'-'?!fiflffffiffl ) 

ABCDEFGHIJKLMNO 
PQRSTUVWXYZ& 

abcdefghijklmno 
pqrstuvwxyz 

Matrix  Information :  3f')A33.  Lower  case  alphabet.  •130  points.  Figures.  .249.  Runs  in  Wide  72  channel  uLagazine:  also  lower 
case,  except  ni  and  p.  in  cap  channels  of  71  channel  inaKa/ine  with  caps  and  tigures  in  Wide  SA  channel  auxiliary  magazine. 
Code  word.  IXAJ. 


241 


A*P*L  CHELTENHAM   BOLD 


(72A101O)  Lower  case  alphabet,  925  points.  Code  word,  ZAPEM 

72 


NINE  SETS 

Serving  5  of 


(60A1010)  Lower  case  alphabet.  756  points.  Code  word.  ZAPDO 

60 


PEOPLE  FOR 

Playing  in  a  68 


(48A1010)  Lower  case  alphabet.  583  points.  Code  word.  ZAPCI 

48 


AT  THE  AFFAIR 

Held  for  Lodge  70 


(42A1010)  Lower  case  alphabet.  514  points.  Code  word.  ZAPBE 

42 


4392  SECTIONS  OF 

Representatives  by  a 
majority  vote  for  fine 


ill-Purpose  Linotype  Matrices  are  also  available  in  8,  10,  12,  14,  18,  24,  30  and  36  point  sizes 

242 


A*P*L  CHELTENHAM   BOLD 


(120AHII0)  Caps  and  figures  <.iily.  C.de  vvi.rd.  ZEFIC 

URN  IS 
BEST  6 


(96A101())  Caps  and  figures  only.  Code  word.  ZEFHA 

TIES  OR 
SHIRT 

OF  FINE 


243 


CHELTENHAM  BOLD  ITALIC 


18  HOW  IS  ONE  TO  ASSESS  ANY  TYPE  IN 
How  is  one  to  assess  and  evaluate  a  type  face 
in  terms  of  its  esthetic  design?  Why  do  pace- 
makers in  the  art  of  printing  rave  over  a  spe- 
cific type  face?  What  do  they  see  in  it?  Why 
is  it  so  superlatively  pleasant  to  their  eyes? 
Good  desig  1234567890  ($,.:;'-'? IMffffim) 

ABCDEFGHIJKLMNOPQRS  TUV 

WXYZ&  abcdefghijklmnopqrstuvwxyz 

LOGOTYPES 

Va  Ve  Vo  Wa  We  Wo  Ya  Ye  Yo 

Matrix  Information :  18A1~^-  Lower  case  alphabet.  2-i4  pnints.  Figure  1.  .1.^83;  2  to  0.  ,1S2J^.  Runs  in  72  channel  magazine; 
also  lower  case  in  cap  channels  of  90  channel  magazine  with  caps  and  figures  in  34  channel  auxiliary  magazine.  19  point  align- 
ment. Code  word,  IXCE. 


-(  °  LINaTYPE""'> 


24  HOW  IS  ONE  TO  ASSESS  ANY  T 

How  is  any  one  to  assess  and  evaluate 
a  type  face  in  terms  oi  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the 
printing  art  rave  over  a  speciiic  iace 
oi  type?  What  do  they  see  in  it?  Why 
is  it  1234567890($,.:;'''?l{imffim) 

ABCDEFGHIJKLMNOPQRS 
TUVWXYZ& 

abcdefghijklmnopqrstuvwxyz 
VaVeVoWaWeWoYaYeYo 

Matrix  Information :  24A117.  Lower  case  alphabet,  299  points.  Figures.  .1937.  Runs  in  72  channel  magazine;  also  lower  case, 
except  m  and  w,  in  cap  channels  of  90  channel  magazine,  with  caps  and  figures  in  34  channel  auxiliary  magazine.  Code  word, 
IXDL 


244 


CHELTENHAM  BOLD  ITALIC 

30 


HOW  IS  ONE  TO  ASSESS  A 

How  is  one  to  assess  and  eval- 
uate a  type  face  in  terms  of  its 
esthetic  design?  Why  do  the 
pace-makers  in  printing  arts 
rave  over  a  specific  type  face? 
What  do  they  see  in  it?  Why 
is  it  so  superlatively  pleasant 
to  their  eyes?  Good  design  is 
ever  a  practical  design.  And 
what  they  see  in  a  good  type 
design  is,  partly,  its  excellent 
practical  fitness  for  its  wo  12 
34567890($,.:;'-'?!fifHfffifH) 

ABCDEFGHIJKLMNO 
PQRSTUVWXYZi&: 

abcdefghijklmnopqrstuvwxy 

Matrix  hiformalion  :  30A95.  I.nwer  case  alpliahet.  .17C  points.  FiKure  1.  .17'<X:  J  to  0.  .23^2.  Kuns  in  Wide  72  channel  niaKa- 
zine:  also  lower  case  in  cap  channels  of  72  channel  niaga/ine  witli  caps  and  liKnres  in  Wide  34  ^haniitd  auxiliary  inaga/ine. 
Code  word.  IXEC. 


245 


A*P*L  CHELTENHAM   BOLD  ITALIC 


(48A1011)  Lower  case  alphabet.  S90  points.  Code  word,  ZAJRO 

48 


A  CRUISE  YOU 

Will  enjoy  for  fine 
pleasures  on  your 
vacation  in  the  43 


(42A1011)  Lower  case  alphabet.  517  points.  Code  word.  ZAJOP 

42 


SPORT  COAT  $25 

Bargains  in  woolens 
We  reduced  prices  at 
least  6%  in  every  one 


(36AI0n)  Lower  case  alphabet.  448  points.  Code  word,  ZAJOJ 

36 


AFTERNOON  DRESS 

In  blue  or  green  and  has 
nautical  flare.  Many  of 
these  are  piped  with  78 


All-Purpose  Linotype  Matrices  are  also  available  in  18,  24  and  30  point  sizes 

246 


CHELTENHAM  BOLD  COND.  with  ITALIC 

f.   I'.iiiit    (r,A-M_')  I,,,«i-i    i.i-r  .ilphali.-I,  77  |,..i,il^     lii.-in.-,   J/IM 

HOW  IS  ONE  to  assess  and  evaluate  a  type  (ace  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  io  the  art  of  printing  ra  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  lace  in  terms  of  its  esthetic  design?   Why  do  the  pace-mabers  in  the  art  ol  printing  ra  1234 

8  I'.iiiil    (XA17M  I  r,w,T  .av,.  :,l,,li:ili.-l.  '1=  ,„,nit-.,    liyur.-s.  Jt-' 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  1234 

1"  I'.  .lilt    I  in/  MS  I  I. i.uiT  (.!-,,■  .ill. Ii.il.n,    117  |..iiiit-     liviiir.,    ...,._■ 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  d  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  d  1234 

12  T'oilU    IIJA'O'I  1    ..',■,  .1    ,.iv,-  .ill,li,,l,.l,    nip.. "lis      lu'in.-K,     (IS! 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  1234 

14  T'..int    M4,.'.,-li.l  1   ,.u,a    ,  .1-.-  .tli.li.il..  1      l-^I,..!.l1x     1... ■,,,,■-,      li'K.X, 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  est  1 234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  est  1234 

]K   I'miiiI.  'l\\..-I,.llcT   (IMA,--))  la.w.r  ..isi-  ali.li.il.il.   1''-.  p.. Mils,    l-imiic-,.  .1  1N7 

HOW  IS  one  to  assess  and  evaluate  a  type  face  in  ter  12 
HOW  IS  one  to  assess  and  evaluate  a  type  face  in  ter  12 

18  Pdilll    (I8AS'))  I  .,uci    .  as.,  all.liali.-t,    !>"<  p.,ii,t^     |.'ii;in  I's ,     1  1 II 

HOW  IS  one  to  assess  and  evaluate  a  type  face  in  terms  12 

2-1  I'niilt   (.MAI-'il  Lnivi-r  case  alphaliel.  2!^  poiTits.   Kiiinri-s.  .llli? 

HOW  IS  one  to  assess  and  evaluate  a  type  fa  12 

,10  ri.int   (JIIA711  Lower  case  allihalift.  285  Il..lllt^.    l-ii;in  r^.  ,  K.ii 

HOW  IS  one  to  assess  and  evaluate  12 

3r,  Point  d'lA?')  l.nwcr  case  alphahct.   lis  points.  FiKurc-..  .  lo.i? 

HOW  IS  one  to  assess  and  ev  12 

6(1  roiiit    ((.(lAll  I'.'ips.  Iiiilircs  ami  points  ,.nly.   I'iijlire  1.  ,2(i7=.;  2  to  0,  .2r,2X 

HOW  IS  ONE  TO  AS  12 

HOW  IS  one  to  assess  and  evaluate  a  type  face  in  ter  12 

24  Point    Itain    I24A17.!I  la.xv.-i  ,  .,sr  ..Ipli.,!.,.! .  2-4p..inls     l.-ii;ni.-s.     1=22 

HO  W  IS  one  to  assess  and  evaluate  a  type  1 2 

Ml  P..inl    ll.ili.    (  lllAlll  •  I'""'-'"  '•'^''  •ill'l'-i'"-'.  -"'«  points,   I-iKiires.  .17<W 

HOW  IS  one  to  assess  and  evalua  12 

i,,  |.,„„,    I,  ,],,     I  !,,Al-7l  C.ips.  f,t;iii,.s  .n,,l  i,..ints  only     I'iL-ni.-s.     2fllV> 

H0WIS0NET0ASSESSA12 


Comparison 
of  Sizes 


247 


CHELTENHAM   BOLD  COND.  with  ITALIC 


8 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS 
IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  OF  TYPE?  WHAT  DO  THEY  SEE  IN  IT?  WHY  IS  IT  SO  SUPERLATI 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  es-  How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  es- 
thetic design?  Why  do  the  pace-makers  in  the  art  of  printing  rave  thetic  design?  Why  do  the  pace-makers  in  the  art  of  printing  rave 
over  a  specihc  face  of  type  ?  What  do  they  see  in  it?  Why  is  it  so  „^„  ^  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  destgn  is  always  prac-  i    a-      i       i           *  >     tL   *             7  /^      j  j     -       -       i 
■     I    t*jL..i               ■                ja          J-        -.1  superlatively  pleasant  to  their  eyes  7  (jood  design  is  always  prac- 
tical design.  And  what  they  see  in  a  good  type  design  is,  partly,  .       ,    .     ■         a    j      l   .  .l                              j  .         j                         .i 
its  excellent  practical  fitness  to  perform  its  work.  It  has  a  '■heff  ""'  ''"'«"•  ^"^  "'"'  ">«y  »«  '»  '  ^""^  '>-?«  "l"'?"  "•  P"''^; 
and  balance  in  all  of  its  parts  just  right  lor  its  size,  as  any  good  i'*  excellent  practical  fitness  to  perform  its  work.  It  has  a  '  heft 
tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  and  halance  in  all  of  its  parts  just  right  for  its  size,  as  any  good 
How  is  one  to  assess  and  evaluate  a  type  lace  in  terms  oi  its  es-  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the 
thetic  design?  Why  do  the  pacemakers  in  the  art  of  printing  rave  right  size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither 
oner  a  specific  lace  of  type?  What  do  they  see  in  it?  Why  is  il  so  ^|„„^y  ^„j  (^j^^    „^,  "skinny"  and  weak,  no  waste  of  material 


(solid) 


(one  point  leaded) 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ABCDEFGHUKL!»NOPQRSTU\WX\Z& 

abcdefghijklmnopqrstuvwxyz 

abcdefghi'iklmnopqrstuvwxyz 

12345  ($£,.:;'-'?!  *tt§TIfiaffffiffl)  67890 

1234S  ($£,.:  ;'-'?!*ft§^IH(tHiH«)  67890 

Matrix  Information :  6A232.  Lower  case  alphabet.  77  points.  Figures,  .0484;  cnnima.  period  and  thin  space.  .0277.  Runs  in  90 
channel  magazine.  Code  word,  IXOM. 


(»    LINOTYPE^) 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY 

DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  OF  TYPE?  WHAT  D 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms        How  is  one  to  assess  and  evaluate  a  type  face  in  terms 

of  its  esthetic  design?  Why  do  the  pace-makers  in  the        of  its  esthetic  design?  Why  do  the  pace-makers  in  the 

art  of  printing  rave  over  a  specific  face  of  type  ?  What        art  of  printing  rave  over  a  specific  face  of  type  ?  What 

do  they  see  in  it?  Why  is  it  so  superlatively  pleasant        j„  ^^^^y  ^^^  ;„  i,7  Why  is  it  so  superlatively  pleasant 

to  their  eyes?  Oooa  design  is  always  practical  design.  ,    .i    •  ?  /-     j  j     •       •      i  ••     i  j     • 

,,,;.,  ^     ,  .         ,    r      .  .1     ..  to  their  eyes .'  Uooa  design  is  always  practical  design. 

And  what  they  see  m  a  good  type  design  is,  partly,  its  .     ■     ■    .  .■  ■  .  ,     ;       .  ■      .. 

«,  J        I..X        •«_  And  what  they  see  in  a  good  type  design  is,  partly,  its 

ow  IS  one  to  assess  and  evaluate  a  type  race  m  terms  '       ,  ^  ,  i     ■    i 

oi  its  esthetic  design?  Why  do  the  pace-makers  in  the  excellent  practical  fitness  to  perform  its  work.  It  has 

art  of  printing  rave  over  a  specific  face  of  type?  What  a  "heft"  and  balance  in  all  of  its  parts  just  right  for 
(solid)  (one  point  leaded) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMSOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyz 

abcdefghijiilmnopqrstuvwxyz 
12345  ($£,.:; '-•?!*!$§  qfiflffffiffl)  67890 
12345  ($£,.: ;'-'?!  MfftKfH)  67890 

Matrix  Injormation  :  8A176.  Lower  case  alphabet,  9?  points.   Figures.  .nS53;  cuiiiina,  permd  and  thin  space,  .0277.  Runs  in  90 
channel  magazine,  (."ode  word.  IXPY. 


-(»°  LINOTYPE"  ■«> 


1 0  HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHET 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  altvays  practical  design.  And 
what  they  see  in  a  good  type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its 
work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has. 
Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly  the  work  that 
the  chair  has  to  do,  neither  clunsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of  material 
and  no  lack  of  strength.  And,  beyond  that,  the  chair  may  have  been  made  by  a  man  who 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in  it? 

(one  point  leaded  I 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHfJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyz 

abcdefghijklmnopqrstuvwxyz 

12345  ($£,.:  ;'-'?!*tt§1Ififlffffiffl)  67890 
12345  ($£,.:  ;'-'?!*n%^fiflffffifH)  67890 

Matrix  Jnjormation:  10A148.  Lower  case  alphabet.  117  points.  Figures,  .0692;  comma,  period  and  thin  space,  .0346.  Runs  in  90 
channel  magazine.  Code  word,  IXUG. 


248 


CHELTENHAM   BOLD  COND.  with  ITALIC 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  EST  1 2 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type  ?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is 
always  practical  design.  And  what  they  see  in  a  good  type  design  is,  partly,  its  ex- 
cellent practical  fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its 
parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts 
made  nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither 
clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of  material  and  no  lack  of 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What 

lt~<vo  point  leaded) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHUKLMNOPQRSTV\WXYZ& 

abcdefghijklmnopqrstuvwxyz 

abcdef  ghijklmnopqrstuvwxyz 

12345  ($£,.:;'-'?! *n§<Ififlffffiffl)  67890 
12345  ($£,. : ;'-'? !  t J§  ^  hMfhfR)  67890 

Matrix  Information  :  1JA9H.   Lower  case  alphabet.   IJJ  points.   Figures,  .0H3;  cumma,  pericid  and  thin  ^pate.   .0415.   Runs  in  90 
cliatmel  inaKa/ine.  ("ode  wurd.  IXVI*. 


C  PC  LINOTYPE"    ) 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERM  1 4 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  spe- 
cific face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively 
pleasant  to  their  eyes  ?  Good  design  is  always  practical  design.  And 
what  they  see  in  a  good  type  design  is,  partly,  its  excellent  practical  fit- 
ness to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  spe- 

il~ce  f-ii"  l.;ulrdl 

ABCDEFGH1JKLMN0PQRSTUVWXYZ& 
ABCDEFGHUKIMNOPQRSWVWXYZ& 

abcdefghijklmnopqrstuvwxyz 

abcdefghijklmnopqrstuvwxyz 
12345  ($£,.:  ;'-'?!nJ§^fiflffffiffl)  67890 
12345 ($£,. : ;'-'? !  m^MfiHifH) 67890 


LOGOTYPES 


E4  PA  TA  VA  WA  YA 


Matrix  l„lormatu,„:  1-4A-1'..   l-.'Wi-,   ...-.<•  .il,.l..,l..l .   I  v.  |,.u„c     1-,k"i.-.    m..„x;  ,,.„„„.,.  peri..,!  an.l  linn  -p-ne,  .0-184.    Kun. 
i-haiiiK-i  inaga/iiie.  f..<k-  w..i,l.   I/.\I  . 


249 


CHELTENHAM   BOLD  COND.  with  ITALIC 


18  HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of 
its  esthetic  design?  Why  do  the  pace-makers  in  the  art 
of  printing  rave  over  a  specific  face  of  type?  What  do 
they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design.  And  what 
they  see  in  a  good  type  design  is,  partly,  its  excellent 
practical  fitness  to  perform  its  work.  It  has  a  ''heft''  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as  any 
good  tool  has.  Your  good  chair  has  all  of  its  parts  made 
nicely  to  the  right  size  to  do  exactly  the  work  that  the 
chair  has  to  do,  neither  clumsy  and  thick,  nor  ''skinny" 
and  weak,  no  waste  of  material  and  no  lack  of  strength. 
And,  beyond  that,  the  chair  may  have  been  made  by  a 
man  who  worked  out  in  it  his  sense  of  fine  shapes  and 
curves  and  proportions:  it  may  be,  actually,  a  work  of 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of 
its  esthetic  design?  Why  do  the  pace-makers  in  the  art 
of  printing  rave  over  a  specific  face  of  type?  What  do 
they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design.  And  what 
they  see  in  a  good  type  design  is,  partly,  its  excellent 

(two  point  leaded) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGmJKLMNO?QRSTmV/TiZ& 
abcdefghijklmnopqrstuvwxyz 
abcdefghijklmnopqrstuvwxyz 
12345  ($,.:;'-'?!fiflffffiffl)  67890 
12545  ($,.:;'-'?!Mma)  67890 

Matrix  rnfnntialion:  18A24.  Lower  case  alphabet.  195  points.  Figures.  .1107.  Runs  in  90  channel  magazine.  Code  word.  ZEZPA. 


250 


CHELTENHAM   BOLD  COND. 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  F AC  1 8 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of 
its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of 
printing  rave  over  a  specific  face  of  type?  What  do  they 
see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes? 
Good  design  is  always  practical  design.  And  what  they  see 
in  a  good  type  design  is,  partly,  its  excellent  practical  fit- 
ness to  perform  its  work.  It  has  a  ^^hef t''  and  balance  in  all 
of  its  parts  just  right  for  i  1234567890  ($,.:^7!fiflffffifH) 

ABCDEFGHIJKLMN()PQRSTUVWXYZ& 
abcdefghijklmnopqrstuvwxyz 

Matrix  hijormut'u'n  :   ISAS'J.   Lower  case  alphabet.   ]XU  pnints.    Kiwiires.   .110.  Rims  in  90  channel  magazine,  ("nde  \\..r<i.    IZDE. 
Also  available  in  two-letter  matrices  as  Cheltenham  Bold  Condensed  with  Italic  (  18    .24).  Code  word,  ZEZPA. 


-('°  LINOTYPE"' > 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  24 

How  is  one  to  assess  and  evaluate  a  type  face 
in  terms  of  its  esthetic  design?  Why  do  the  lead- 
ers in  the  printing  art  rave  over  a  specific  face 
of  type?  What  do  they  see  in  it?  What  makes  it 
so  pleasant  to  their  eyes?  A  good  design  is  ever 
a  practical  design.  And  what  they  see  in  a  good 
type  design  is,  partly,  its  excellent  practical  fit- 
ness to  perform  it  1234567890  ($,.:;^7!fiflffffifH) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyz 

Miilri.r  Injornialun,  2-M\\2i.  I..iwi-r  rase  .ilpliabi-t .  Jl'-  pMints.  I  ivnri'v.  .11117.  I^iiis  in  9(1  .haiiiicl  .iiaKa/iiie  willi  Spoi.-ll  caps 
A,  M  and  \V.  anil  .11117  fiKiirps.  Kims  in  7-'  <  hann.-l  niaKa/inc  Willi  l.is.l  ln;iirrs:  aK,,  l.nvcr  la-c  in  ,a|)  .hainu-ls  oi  '«l  channel 
inatta/ine  willi  caps  anil  tiKures  in  M  ilianncl  auxiliary  inaKa/inc.  CmiIc  w.nil.   I/.KI). 


251 


CHELTENHAM   BOLD  COND. 


30 


36 


60 


HOW  IS  ONE  TO  ASSESS  AND  EVA 

How  is  one  to  assess  and  evaluate  type 
faces  in  terms  of  their  esthetic  design? 
Why  do  1234567890  ($,.:^7!iiflffffiffl) 

ABCDEFGHIJKLMNOPQRSTUVW 

XYZ&  abcdefghijkhnnopqrstuvwxyz 

Matrix  Information  :  30A71-  Lower  case  alphabet,  285  points.  Figures,  .166.  Runs  in  73  channel  magazine:  also  lower  case, 
except  ni  and  w,  in  cap  channels  of  90  channel  magazine,  with  caps  and  figures  in  34  channel  auxiliary  magazine.  Code  word, 
iZFI. 


-C  "  LiNOTYPE"")- 


HOW  IS  ONE  TO  ASSESS  AN 

How  can  any  one  evaluate  and 
a  1234567890($,.:;'-'?!fiflMffl) 

ABCDEFGHIJKLMNOPQR 
STUVWXYZ& 

abcdefghijkhnnopqrstuvwxyz 

Matrix  Information :  36/\73.  Lower  case  alphabet.  348  points.  Figures.  .1937.  Runs  in  Wide  72  channel  maga/ine;  also  lower 
case  in  cap  channels  of  72  channel  magazine  with  caps  and  figures  in  Wide  34  channel  auxiliary  magazine.  Code  word,  IZGO. 

(,».r  LINOTYPE"") 


HOW  IS  ONE  TO  AS  12 

Matrix  Information  :  6UA3.  Caps,  figures  and  points  only.   Figure  1.  .207S;  2  tu  0.  .2628.  Runs  in  Wide  34  channel  auxiliary 
magazine;  also  caps  in  Wide  72  channel  magazine.  Smallest  slug  on  which  this  face  will  cast  is  45  point.  Code  word,  IZHU. 


252 


A*P*L  CHELTENHAM   BOLD  COND. 


(72A101J)   l.uwer  case  aiplial.et,  71-1  iicinls.  I  ,„k-  w.irri.  ZAI'VK 

SPORT  SHIRT 

Blue  or  grey  $3 

(60A101.')  Liivver  case  alplialiet.  5X5  ii..iiits.  Cnde  wcini.  ZAPUR 

STUDIO  RUGS  IN 

Large  sizes  for  $24 

(■IXAIin^l  Lower  case  alphabet.  439  points.  Cnde  word.  ZAl'l'K 

RADIO  SALE  JULY  15  ' 

Our  display  of  67  of  the 

(•42AIII1-I   Lower  case  alplialret.  Alt-'  points    I'ode  woril.  ZAI'l'D 

CHARMING  DRESSES  OF '' 

Fine  imported  crepe  are  on 
sale  during  this  great  9  day 


All-Purpose  Linotype  Matrices  are  also  available  in  18,  24,  30  and  36  point  sizes 

253 


A'P*L   CHELTENHAM   BOLD  COND. 


(120A1012)  Caps  and  figures  only.  Code  word.  ZEFII" 

120 


BOYS  IN 
CLUB 


(96A1012)  Caps  and  fiRures  only.  Code  word.  ZEFIJ 

96 


FUR  SALE 

TO  END  26 
OF  THESE 


254 


CHELTENHAM  BOLD  COND.  ITALIC 


HOW  IS  ONE  TO  ASSESS  ANY  TYPE  IN  TERMS  OF  is 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of 
its  esthetic  design?  Why  do  the  pace-makers  in  the  art 
of  printing  rave  over  a  specific  face  of  type?  What  do 
they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design.  And  what 
they  see  in  a  good  type  design  is,  partly,  its  excellent 
practical  fitness  to  per  1234567 890  ($,.:;'-'?!fiatifEfR) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ahcdefghijklmnopqrstuvwxyz 


LOGOTYPES 


Va  Ve  Vo  Wa  We  Wo  Ya  Ye  Yo 


Matrix  Injormation :  18A131.  Lower  case  alpiialit-t .  1''=-  pMmts.  l-iuurcv.  .1107.  Runs  m  '")  channel  Tiiaga/ine.  Code  word.  IZMI. 
Also  available  in  two-letter  matrices  as  Cheltenham  Bold  Condensed  with  Italic  (  18     24  ).  Code  word,  ZEZPA. 


(p    LINOTYPE"") 

HOW  IS  ONE  TO  ASSESS  ANY  TYPE  IN  24 

How  is  one  to  assess  and  evaluate  a  type  face 
in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over 
a  specific  face  of  type?  What  do  they  see  in 
it?  Why  is  it  so  pleasant  to  their  eyes?  Good 
design  is  ever  a  practical  design.  And  what 
they  see  in  a  good  type  design  is,  partly,  its 
exc  1 234567890  ($,.:;'''?MffffifR)  -  ^  PA 

ABCDEFGHliKlMNOPQRSTVV 

WXYZ&  ahcdefghijklmnopqrstuvwxyz 


ill  lap  iluiiiiii-Is  c,l  'HI  <h.uiiifl  iii.iKa/iiic  vvitli  ,.l|l^  .iiici  liumes  in  M  cli.iiim-l  .uixil 


255 


CHELTENHAM  BOLD  COND.  ITALIC 

''  HOW  IS  ONE  TO  ASSESS  ANY  T 

How  can  any  one  assess  and  evaluate 
a  type  face  in  terms  of  its  esthetic  de- 

sig  1234567890  ($,.:;'-7!fiflfffRfR) 

(tzvo  point  leaded) 

ABCDEFGHIJKLMNOPQR 
STUVWXYZ& 

abcdefghijklmnopqrstuvwxyz 

Matrix  Information:  30A111-  Lower  case  alphabet,  298  points.  Figures,  .1798.  Runs  in  72  channel  magazine;  also  lower  case 
in  cap  channels  of  90  channel  magazine  with  caps  and  figures  in  34  channel  auxiliary  magazine.  Code  word,  IZOG. 


(°  LINOTYPE     > 

36  " 


HOW  CAN  ONE  ASSESS  AM 
CREATION  OF  TYPE  WITH 
REGARD  TO  ITS  ESTHETIC 
DESIGN?  WHY  DO  LEADERS 
IN  THE  1234567890($,.:;'-?!) 

(two  point  leaded) 

ABCDEFGHIJKLMNOPQ 
RSTUVWXYZ& 

Matrix  Infarwatinii:  JGAIS/.  Caps,  tiKures  and  iJi.inls  only.  Imkuips.  ._'(««!.  Kuns  in  Wide  72  channel  magazine;  also  in  Wide 
34  channel  auxiliary  magazine.   Smallest  slug  im   which  this  face  will  cast  is  34  point.   Ciide  word.  ZEYUY. 


256 


A*P*L  CHELTENHAM   BOLD  COND.  ITALIC 


(•tXAlUlJl   I.i.wer  case  ;di.lialjfl.  -li.S  |),.inl-,.  C.iilc  uuid,  Z.WL'i; 

AN  IMPORTED  SILK  ^ 

Dress  has  rich  striping 
usually  expected  in  the 
better  garments  and  12 

(42A1II13I  l.tiwpf  cast'  alplialiet.  4(«  points.  Cnrle  word.  ZANTE 

BIG  CROP  OF  COTTON  '' 

Cause  of  stock  drop  36  to 
47  points  in  early  trading 
but  rally  near  close  sends 

(,tr,All)l,!l    l.nuiT  case  ali.lial.i-t.  .IVi  points.  Code  wor.i.  ZANSA 

FINE  PRE-SHRUNK  SHIRTS  " 

In  fast  colors  made  by  makers 
of  nationally  famous  sporting 
wear  for  men,  special  at  $3,50 


All-Purpose  Linotype  Matrices  are  also  available  in  18,  24  and  30  point  sizes 

257 


CHELTENHAM  BOLD  EXTRA  CQND. 

f* g^fnnnVtVnn  '**  I'nint  nSA41)  I.ower  case  alphabet,  1 54  points.  Figures.  .097 

oi  Sizes   HOW  IS  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthe  12 

24  Point  (24A29)  Lower  case  alphabet.  192  points.  Figures.  .1107 

HOW  IS  one  to  assess  and  evaluate  a  type  face  in  term  12 

30  Point  (30A7)  Lower  case  alphabet.  326  points.  Figures,  .1107 

HOW  IS  one  to  assess  and  evaluate  a  type  (ace  12 

36  Point  (J6A45)  Lower  case  alphabet.  2,12  points.  Figures.  .1107 

HOW  IS  one  to  assess  and  evaluate  a  type  (a  12 

42  Point  (42A21)  Caps,  figures  and  points  only.  Figures.  .165 

HOW  IS  ONE  TO  Am  AND  EVAUI 12 

48  Point   I4.HA9I  T'aps.  tigurcs  .iinl  points  only.  Figures.  .2075 

HOW  IS  ONE  TO  ASSESS  AN  12 

24  Point  Italic  (24A95)  Lower  case  alphabet.  229  points.  Figures.  .1107 

HOW  IS  one  to  assess  and  evaluate  a  type  facell 

Larger  sizes  shown  in  A-P-L  section 
(,.«  LINOTYPE  ""0 

LIST   OF   CHARACTERS   AVAILABLE    IN    FONTS 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
12345     abcdefghijklmnopqrstuvwxyz     67890 
,.:;?!(!  )"-i!E(E&$a!a;fi(i(f 

Ys  Vi  %  Vz  %  Vi  % 


258 


CHELTENHAM  BOLD  EXTRA  COND. 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  18 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic 
design?  Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a 
specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superla- 
tively pleasant  to  their  eyes?  Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent  prac- 
tical fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of 
its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair 
has  all  of  its  parts  made  nicely  to  1 1234567890  ($,.:;'-7!fiflffffifil) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
abcdefghijklmnopqrstuvwxyz 

Matrix  Information  :  IRA''!.   I.ciwi-r  i.ise  alplialu-t.    154  pc.iiit^.    FiKures.   ,()')7.   Runs  in  90  channel  niaK.i/ine.  TiKie  wnnl.  JAEK. 

(.nr  LINOTYPE ) 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FA  ^' 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of 
its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of 
printing  rave  over  a  specific  face  of  type?  What  do  they 
see  in  it?  Why  is  it  so  superlatively  pleasant  to  the  eyes? 
Good  design  is  always  practical  design.  And  what  they 
see  in  a  good  type  design  is,  partly,  its  excellent  practi- 
cal fitness  to  do  its  work.  It  has  a  ''heft"  and  balance  in 
all  of  its  parts  just  right  1234567890  ($,.:;'-7!fiflffffifll) 

(IWi'  poiut  leaded) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
abcdefghijklmnopqrstuvwxyz 

Matrix  Inimmalion:  24A20.  I.ciwer  i;isf  alpliahet.  192  poinls.   l-mnrcs.  .1107.  Knn^  in  yo  ihamu-l  inaRa/ine.  Code  word,  JAER. 


259 


CHELT^.NHAM   BOLD  EXTRA  COND. 

''  HOWISONETOASSESSANDEVALUATEATY 
How  can  any  one  assess  and  evaluate  a  type  face 
in  terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  1234567890  (l:;'-7!filllfifiiB) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
abcdefghijldmnopqrstuvwxyz 


36 


Matrix  Information:  30A7-  Lower  case  alphabet.  226  points.   Figures.  .1107.  Runs  in  90  channel  magazine.  Code  word.  JAIL. 

(r.  LINOTYPE"") 

HOfflSONETOASSESSANDEVALUATEA 

How  is  one  to  assess  and  evaluate  a  type  (ace  in 
terms  o(  its  esthetic  design?  Why  do  the  pace- 
niahers  in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleas  12345ra(U- -?!iffM) 

(solid) 

ABCDEFGHUKLNNOPQRSTUVWXm 
aliciieF;liijkliiino|i(|r$tiivw}tyz 

Matrix  Information:  3CA4S.  Lower  case  alphabet.  2.i2  points.  Figures.  .1107.  Runs  in  90  channel  magazine.  Code  word,  JAIS. 


260 


CHELTENHAM   BOLD  EXTRA  COND. 

Hoir  IS  ONE  TO  m&  m  evaluate  " 

A  FACE  OF  TYPE  IN  TERMS  OF  ESTHETIC 
DESIGN?  WHY  DO  THE  PACE-MAKERS  IN 


12345  ($,•;'-'?!)  67890 

Matl-ix  InUiymatinn  :  -J-'A-'l.  Caps,  hmirc^  and  ti'iilits  -mly.    l-iKUrtb.   AiA,.    Runs  iii  '"I  iliaiiiu-l   maKa/iiK-,  exi-<-l>l   t'lKlMcs.   which 
run  acKirdiiiK  t.i  aihcrtisiiiK  laynut  or  pi.  Sinallesl  shii;  cm  wlliih  Ihis  l.n  i-  will  last  is  M,  iic.iiit.  lode  wunl.  .I.\J.'\. 


-(      LINOTYPE    0 

48 


HOW  CAN  ONE  EVALUATE  OR 
ASSESS  ANY  FACE  OF  TYPE  IN 
TERMS  OF  ESTHETIC  DESIGN? 
WHY  D 1234567890  ($,:;-7!) 

ABCDEFGHUKLMNOPQR 
STUVWXYZ& 

.i;a(ri.r  Information  :  ■4RA''.  Cap^.  tii;ni.s  and  |..iints  cilly.  liKnrc^.  ..'(I7^.  Knns  in  /J  .li.uniel  iTKlKa/inc;  als.i  in  .14  channel 
auxiliary  inaKa/ine.  .Smallest  shiK  cin  wliiili  tins  face  will  cast  is  4.^  point,  ('ode  weird.  .1A.K). 


261 


A*P*L  CHELTENHAM  BOLD  EXTRA  COND. 


(120A1049)  Caps  and  figures  only.  Code  word.  ZELLO 

120 


STOCK  23 


(96A1049)  Caps  and  figures  only.  Code  word.  ZELKI 

96 


RAILS  HIGH 
IN  CLOSE  45 


(84A1049)  Caps  and  figures  only.  Code  word,  ZEZSI 

84 


SHOW  OPENS 

WITH  GAY  67 


262 


CHELTENHAM   BOLD  EXTRA  COND.  ITALIC 


HOW  IS  ONE  TO  ASSESS  ANY  TYPE  IN  TER  '' 

How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  de- 
sign is  always  practical  design.  And  what  they 
see  in  a  good  type  design  is,  partly,  its  excellent 
practical  ability  to  do  its  work.  It  has  a  "heff 
and  balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good  chair  has 
all  of  its  parts  made  nicely  t  (%.:;- ?lfifltfffiffl) 

(two  point  leaded) 

ABCDEFGHIJKLMmPQRSTUVWXYZ& 

ahcdefghijklmnopqrstuvwxyz 
1234567890    -   FA  PA  Ve  We  Ye 

Matrix  Infuriiialii'ii     :mA''5.  Lower  case  alphabet.  229  points.  FiKures.  .1107,  Kutis  in  ')ii  cli.iiniel  niasa.'ine.  I'cxie  word.  .T.-\KF.. 

(»°LINOTYPE=) 


HIGH   AND    LOW   CAP   ACCENTS  High  and  Low 


IL  Y  A  UNE  VARI£t£  INFINIE  IL  Y  A  UNE  VARI£T£   INFINIE 

DANS    LA    MANIERE    D' ACCOM-  DANS    LA    MANIERE    D'ACCOM- 

MODER  LES  ALIMENTS;  ET  DE  MODER  LES  ALIMENTS;  ET  DE 

LA   MANIERE    DONT   ILS   SONT  LA    MANIERE    DONT    ILS   SONT 

PREPARES     (CUITS,    ASSAISON-  PREPARES     (CUITS,     ASSAISON- 

NES,      APPR£t£S,      PARFUMES,  NES,      APPR£T£S.      PARFUMES, 

EPICES)   DEPEND  LEUR  DEGRE  £PIC£S)    D£PEND  LEUR  DEGRE 

(.«•(  7vitli  hiiih  nip  ucciits)  (scl  Willi  /ovt'  cap  afcrnts) 

Cap  accents  arc  iisttally  icducnl  in  lu-iolil .  so  tlial  the  complete  chaiaeler.  inehiding  the  diacritical  mark,  trill  cast  on  the 
regular  body.  They  can  al.ui  he  liirnished  pill  height,  if  de.iired.  in  trhich  case  the  increased  thickness  is  added  to  the  top  oi 
the  slug.  II  hen  such  "high  cap"  accents  are  used,  a  special  mold  is  required.  IVhen  using  a  high  cap  mold  lor  setting  regular 
matter,  either  with  or  without  high  cap  accents,  it  is  necessary  to  use  liners  from  one  to  two  points  thicker  for  U  point  and 
under,  and  jour  points  thicker  for  IS  point  and  ox'Cr.  so  as  to  preTent  trimming  off  the  descending  characters,  as  the  blank 
space  is  at  the  top  of  the  slug.  High  cap  accents  cannot  he  used  with  descending  clitiracters  in  head-letter  faces  abot'e  S2  point. 


CAP  ACCENTS 


262  a 


CHELTENHAM  ADVERTISING  FIGURES 


CHELTENHAM  •  18-36 point 

1234567890 

36  Point  (36A43)  Punched  in  auxiliary  position.  Size,  .249.  For 
three  line  12  point  from  Special  Advertising  Figure  Mold,  F-2106. 
or  two  line  18  point  from  Special  Advertising  Figure  Mold.  F-6288. 
Runs  in  left  side  of  34  channel  auxiliary  magazine  and  in  wide  34 
channel  auxiliary  magazine.  Code  word.  IVMY. 

1234567890 

30  Point  (30A1491  Punched  in  regular  position.  Size.  .1937.  For 
two  line  12  point  from  Advertising  Figure  Mold.  Runs  in  all  aux- 
iliary magazines.  Code  word,  ZIHJA. 

1234567890 

24  Point  (24A195)  Punched  in  regular  position.  Size.  .166.  For 
two  line  10  point  from  Advertising  Figure  Mold.  Runs  in  90 
channel  magazine,  advertising  figure  channels  and  in  all  auxiliary 
magazines.  Code  word.  ZIHIR. 

1234567890 

20  Point  (20A25)  Punched  in  regular  position.  Size,  .1383.  For 
two  line  9  point  from  Advertising  Figure  Mold.  Runs  in  90  channel 
magazine,  advertising  figure  channels  and  in  all  auxiliary  maga- 
zines. Special  figures,  size  .1107  can  be  used  to  run  in  90  channel 
magazine,  regular  figure  channels.  Code  word.  ZENIF. 

1234567890 

18  Point  {18A255)  Punched  in  regular  position.  Size.  .1107.  For 
two  line  8  point  from  Advertising  Figure  Mold.  Runs  in  90  channel 
magazine,  regular  figure  and  advertising  figure  channels,  and  in  all 
auxiliary  magazines.  Code  word.  ZADYO. 


CHELTENHAM  BOLD 
14-42  point 

12345678 

42  Point  (42A9)  Punched  in  auxiliary  position.  Size,  .3112.  For 
three  line  12  point  from  Special  Advertising  Figure  Mold,  F-2106, 
or  two  line  18  point  from  Special  Advertising  Figure  Mold.  F-6288. 
Runs  in  wide  34  channel  auxiliary  magazine.  Code  word.  ZIIILI. 

1 234567890 

36  I'oiiit  (36A33)  Punched  in  auxiliary  position.  Size,  .249.  For 
three  line  12  point  from  Special  Advertising  Figure  Mold,  F-2106, 
or  two  line  16  point  from  Special  Advertising  Figure  Mold.  F-6288. 
l^uns  in  left  side  of  34  cliannel  auxiliary  magazine  and  in  wide  34 
channel  auxiliary  magazine.  Special  wide  figures,  size,  .2628  are 
available    for    use    in    wifle    34    chanTiel    auxiliary    magazine.    Code 

1234567890 

M)  Point  (3QA179)  Punched  in  regular  position.  Size.  .2075.  For 
two  line  12  point  from  Advertising  Figure  Mold.  Runs  in  all  aux- 
iliary magazines.  Code  word.  ZAFID. 


1234567890 

24  Point  (24A5)  Punched  in  regular  position.  Size,  .1867.  For 
two  line  10  point  from  Advertising  Figure  Mold.  Runs  in  all  aux- 
iliary magazines.   Code  word,  IXJA. 

1234567890 

18  Point  (18A13)  Punched  in  regular  p..Mti..ii.  Size.  .1452.  For 
two  line  8  point  from  Advertising  Figure  Mold.  Runs  in  90  channel 
magazine,  advertising  figure  channels  and  in  all  auxiliary  maga- 
zines. Code  word.  IXIP). 

1234567890 

14  Point  (14A13)  Punched  in  regular  position.  Size,  .1176.  For 
two  line  7  point  from  Advertising  Figure  Mold.  Runs  in  90  channel 
magazine,  advertising  figure  channels  and  in  all  auxiliary  maga- 
zines. Code  word,  IXHY. 


CHELTENHAM  BOLD 
CONDENSED  •  14-42  point 

1234567890 

42  T'oint  (42A13)  Punched  in  auxiliary  position.  Size,  .249.  For 
three  line  12  point  irom  Special  Advertising  Figure  Mold.  F-2106, 
or  two  line  18  point  from  Special  Advertising  Figure  Mold.  F-6288. 
Runs  in  left  side  of  34  channel  auxiliary  magazine  and  in  wide  34 
channel  auxiliary  magazine.  Code  word.  ZIHKE. 

1234567890 

36  Point  (36A73)  Punched  in  auxiliary  position.  Size.  .1937.  For 
three  line  10  point  from  Special  Advertising  Figure  Mold,  F-2106, 
or  two  line  16  point  from  Special  Advertising  Figure  Mold,  F-6288. 
Runs  in  all  auxiliary  maKazines.  Code  word.  IZLE. 

1234567890 

30  Point  (30A43)  Punched  in  regular  position.  Size,  .166.  For 
two  line  12  point  from  Advertising  Figure  Mold.  Runs  in  90  chan- 
nel magazine,  advertising  figure  channels  and  in  all  auxiliary 
magazines.  Code  word,  IZKA. 

1234567890 

24  Point  (24A37)  Punched  in  regular  position.  Size.  .1383.  For 
two  line  10  point  from  Advertising  Figure  Mold.  Runs  in  90  chan- 
nel magazine,  advertising  figure  chainiels  and  in  all  auxiliary 
magazines.  Code  word,  IZJY. 

1234567890 

18  Point  (18A17)  Punched  in  regular  position.  Size,  .1176.  For 
two  line  8  point  from  Advertising  Figure  Mold.  Runs  in  90  channel 
magazine,  advertising  figure  cliannels  and  in  all  auxiliary  maga- 
zines. Code  word,  IZIM. 

1234567890 

14  Point  (14A39)  Punched  in  regular  position.  Size.  .0968.  For 
two  line  7  point  from  Advertising  Figure  Mold.  Runs  in  90  channel 
magazine,  regular  and  advertising  figure  channels  and  in  all  aux- 
iliary magazines.  Code  word.  IZIF. 


Note:  Fractions,  points,  cent  mark,  and  other  commercial  characters  are  available  for  these  faces 


262  b 


CHELTENHAM  ADVERTISING  FIGURES 


CHELTENHAM  BOLD  ITALIC 
18  and  24  point 

1234567890 

24  Vaiut  (J^A?)  ruiK-hed  in  rt-KuIar  position,  Si/e.  .19J7.  For  two 
line  10  point  from  Advertising  Figure  Mold.  Runs  in  all  auxiliary 
magazines.  Coilc  word.   IXOl-'. 

1234567890 

1.S  Point  (IHAI-^)  I'undied  in  reKuIar  position.  Si/r,  .iSVI.  For 
two  line  H  point  from  Advertising  Figme  Mold.  Kuns  in  '>i)  clianncd 
magazine,  advertising  figure  channels  and  in  all  auxiliary  maga- 
zines. Code  word.  IXNU. 


CHELTENHAM  BOLD  COND. 
ITALIC  •  18  and  36  point 

1234567890 

36  Point  (36A157)  I'uiiched  in  auxiliary  position.  Si/e.  .J(i06.  For 
three  line  12  point  from  Special  Advertising  Figure  Mold.  F-2106, 
or  two  line  IS  point  from  Special  Advertising  Figure  Midd.  F-6288. 
Runs  in  all  anxiliary  maya/incs.   Code  word.  /KYUY. 

1234567890 

18  I'oiiit  (l«AI''l  ruiuhfil  ni  ic-Kul;ir  ijcsuiun.  Si/e.  .IJ4S.  l''i,r 
two  line  8  puiiil  (rum  AdvciIisinK  Imkuic  .Muld.  Runs  ni  'Ml  cliaii- 
iiel  niaKa/iiie.  advertising  tigure  channels  and  in  all  auxiliary 
magazines.  Code  word,  I2YJ. 


CHELTENHAM  BOLD  EXTRA   CON DE N SED  •  24  point 


1234567890 


24  Point  (24AI91)  Punched  in  regular  position.  Size.  .1245.  For 
two  line  10  point  from  Advertising  Figure  Mold.  Runs  in  90  chan- 
nel magazine,  advertising  figure  channels  and  in  all  auxiliary 
magazines.  Code  word.  JALI, 


Note:  Fractions,  points,  cent  mark,  and  other  commercial  characters  are  available  for  these  faces 


-("°  LINOTYPE""0- 


CHELTENHAM  INITIALS 

and  Advertising  Figures 


20  I'oint  l/helle 


Figures.  AMJ.  Code  word,  ZENIF 


ABCDEFGHIJKLMNOPQRST 

UVWXYZ  1234567890.$ 


These  initials  align  at  tlie  top  of  all  .=>!..  to  10  point  faces,  for  display  in  classified  ads  and  sin 


ork,  .\n  indication  of  their  use: 


ATTENDANT  for  gasoline  station,  at 
least  5  years'  experience,  preferably 
man  with  company  experience.  Grant 
Service  Station,  2  6th  ave.  (Church  and 
White  sts.)  

SERVICE  MEN,  familiar  with  all  makes 
of  oil  burners;  state  experience  and 
salary.  N  1451  American  Brooklyn. 
fEN  with  house  to  house  selling  experi- 
ence, salary  and  commission,  good 
'prospects  for  future  advancement; 
references  required.  Apply  8;30  to  9;30 
a.   m.,   Mr.    Walsh.    Brooklyn   Daily    Eagle. 

YOUNG  MAN.  established  coffee  route, 
experienced,  security  required;  ex- 
pense during  two  weeks'  training; 
commission  thereafter.  Thomsen,  53  Ash- 
land pi..  Brooklyn,  after  5.  

fANDYMAN   for    34    family    apartment 

house,  $15  month,  room-board.  Call 

6  p.  m.  1506  Crotona  Park  East,  Bronx. 


Used  car  buy- 
ers will  find  It 
to  their  advan- 


m; 


H 


AUBURNS 

tage  to  see  our  used  car  stock  which  is  be- 
ing offered  at  real  bargain  prices  for  fall 
clearance.  Auto  Sales  Corporation,  790  Co- 
lumbus av. 

CADILLAC  s"dan°^-noo 

^<-^^^L^  li-'L^^^^<-^  miles,  32  La 
Salle  De  Luxe  Sedan — 600  iniles.  New  car 
guarantee;  terms;  trades.  Sell  for  unpaid 
balance.  Doran.  Kelly  Motor  Co.,  520  Dyck- 
man   st.  LOrraine-7-4200. 

White,  for  small  family;  all 
year  position;  good  home 
with  fine  surroundings;  at 
present  in  nearby  seashore  hotel;  washing 
sent  out;  sleep  in;  one  day  off  each  week; 
$60  monthly.  For  interview  call  at  mv 
office  after  2  p.  m.  Thursday.  WILLIAMS. 
95  West  17th  Street. 


MAID  ^ 


262  c 


SPECIAL  CHELTENHAM  FIGURES 


REGULAR    FIGURES 
for  use  in  90  channel  magazines 

$1234567890 

1111  Bold  (ISA''/ I  Figures.  J  107 

$1234567890 

im  (.'(lA'"')  FiKures.  .1107 

$1234567890 

nil  Conileiised  (2')A55)   Fimires, 

$1234567890 

:m  Bold  Condensed  (24A123)  Fig 

$m4567S90 

.Id  Extra  Coiid.   Italic   (24A95) 

$1234567890 

24  Point  Chelt.  Bold  Extra  roiid.  (24A29)  FiKiires,  .1107 


18  Point  rheltenliain  Bold  (1SA''7I  Figures,    lio; 


20  Point  Clleltcnham   (2(1A'')   FiKiire.s.  .lit 


24  Point  Cheltenliani  Condensed  (24A.=;5)   Fimires,  .1107 


24  Point  Chellenhani  Bold  Condensed  (24A123)  Figures.  .1107 


24  Point  Chelt,   Bold  Extra  Coiid.   Italic   (24A95)   Figures.   .1107 


30  Point  Chelt.  Bold  Extra  Cond.  (30A7)  Figures.  .1107 


1 


36  Point  Chelt.  Bold  Extra  Cond.  (36A45)  Figures.  .1107 


SPECIAL  FIGURES 
for  use  in  72  channel  magazines 

$1234567890 

int  Cheltenham  Bold  {18A''7I   Fi.Kures.  .1-1.^2 

$1234567890 

int  Cheltenham  (20A'ii  FiKurcs,  .13X.1 

$1234567890 

lint  Chellenhani  Condensed  (24A55)  Figures.  .166 

$1234567890 

fenliam  Bold  Coiulensed  {24A123)  Figure 

$1234567890 

Bold  Extra  Cond.  Italic  (24A95)  Figt 

$1234567890 

Bold  Extra  Cond.  <24A29)  Figures.  . 

$1234567890 

30  Point  Chelt.  Bold  Extra  Cond.  (30A7)  Figures.  .146 

$1234567890 

36  Point  Chelt.  Bold  Extra  Cond.  (36A45)  Figures.  .166 


24  Point  Cheltenham  Bold  Condensed  (24A123)  Figures.  .1383 


24  Point  Chelt.  Bold  Extra  Cond.  Italic  (24A95)  Figures,  .1522 


24  Point  Chelt.  Bold  Extra  Cond.  <24A29)  Figures.  .125 


SPECIMEN   SHOWING  THE   USE  OF  SPECIAL   FIGURES 


Showing  use  of  .1107  set  width  figures 

The  corporation  realized 
$29,785  from  the  sale  of 
part  of  its  investment  in 
The  Stumpf  Filing  Corp., 
carried  on  the  books  at 
$30,000,  the  balance  be- 
ing written     $1234567890 


Showing  use  of  .1453  set  width  figures 

The  corporation  realized 
$29,785  from  the  sale  of 
part  of  its  investment  in 
The  Stumpf  Filing  Corp., 
carried  on  the  books  at 
$30,000,  the  balance  be- 
ing writt  $1234567890 


special  Figures— 'Vhe  set-wise  size  of  the  largest  tigure  that  will  run  in  regular  figure  channels  of  the  90  channel  magazine  is  .1107  or  8  points: 
hence,  when  display  fonts  are  to  run  in  standard  magazines,  the  narrow  figures  (shown  at  the  left  above!  will  I)e  regularly  furnished.  The  wide 
figures  (right)  will  run  in  figure  channels  of  the  72  channel  magazine  and  in  all  auxiliary  magazines.  They  can  be  used  in  standard  magazines 
only  if  cut  to  run  according  to  Advertising  Figure  Layout;  otherwise  they  must  run  pi.  In  ordering,  be  sure  to  specify  kind  of  figures  required. 


262  d 


(LINOTYPE 

CLOISTER  •  CLOISTER  BOLD  •  CLOISTER  WIDE 

(][  This  all-purpose  series  can  be  safely  used  in  almost 
any  form  of  advertising  or  printed  matter  because  it 
combines  in  the  highest  degree  the  essential  qualities 
of  strength,  dignity,  and  beauty.  Its  design  was  derived 
from  the  justly  famous  Roman  cut  in  1470  at  Venice 
by  Nicolas  Jenson,  which  was  in  turn  based  on  the 
classic  Roman  inscriptions.  Born  in  France  in  1420, 
Jenson  established  himself  in  Venice,  Italy,  in  1470, 
as  a  printer  and  publisher.  f(  In  his  first  year  Jenson 
produced  four  important  editions,  and  more  than  one 
hundred  and  fifty  during  the  remaining  years  of  his 
life.  Many  of  these  were  composed  entirely  in  his 
Roman  types,  which  authorities  agree  have  never 
been  surpassed  for  beauty.  (\A  complete  showing  of 
the  Linotype  Cloister  Family  comprising  Cloister  with 
Italic  and  Small  Caps,  Cloister  Wide  with  Cloister 
Bold,  and  Cloister  Bold  with  Italic,  will  be 
found  on  the  following  pages. 


MERGENTHALER     LINOTYPE     COMPANY,     BROOKLYN,     NEW    YORK,     CHICAGO,     SAN     FRANCISCO,     NEW    ORLEANS. 
CANADIAN     LINOTYPE,     LIMITED,    TORONTO,     REPRESENTATIVES     IN     THE     PRINCIPAL     CITIES     OF     THE     WORLD 


Cloister  •  Comparison  of  Sizes 

6  Point  Cloister  with  Italic  and  Small  Caps  (6A280)  Lower  case  alphabet,  80  points.  Figures.  .0484 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of  pri  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of  pri  vbcd 

8  Point  Cloister  with  Italic  and  Small  Caps  (SA378)  Lower  case  alphabet.  96  points.  Figures.  .0553 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-maker  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  jace  in  terms  of  its  esthetic  design?  Why  do  the  pace-maker  vbcd 


10  Point  Cloister  with  Italic  and  Small  Caps  (10A312) 


Lower  case  a]plial)et.  110  points.  Figures.  .0622 


HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  th  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  jace  in  terms  of  its  esthetic  design?  Why  do  th  vbcd 


II  Point  Cloister  with  Italic  and  Small  Caps  (11A98) 


Lower  case  alphabet,  116  points.  Figures.  .0657 


HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  vbcd 

12  Point  Cloister  with  Italic  and  Small  Caps  (12A284)  Lower  case  alphabet.  124  points.  Figures.  .0692 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  vbcd 

14  Point  Cloister  with  Italic  and  Small  Caps  (14A162)  Lower  case  alphabet.  139  points.  Figures,  .083 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  1 234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  estlietic  vbcd 

18  Point  Cloister  (18A263)  Lower  case  alphabet.  177  points.  Figure  1.  .0968;  2  tn  0.  .1107 

HOW  IS  one  to  assess  and  evaluate  a  type  face  in  terms  of  12 

24  Point  Cloister  (24A223)  Lower  case  alphabet.  233  points.  Figure  1.  .1107;  2  to  0.  .1383 

HOW  IS  one  to  assess  and  evaluate  a  type  12 

30  Point  Cloister  (30A161)  Lower  case  alphabet.  281  points.  Figure  1,  .1383;  2  to  0,  .166 

HOW  IS  one  to  assess  and  evaluate  12 


36  Point  Cloister  {36A91) 


Lower  case  alphabet.  335  points.  Figure  1,  .166;  2  to  0,  .1937 


HOW  IS  one  to  assess  and  e  12 

18  Point  I.  blister  Italic  (18A267)  Lower  case  alphabet.  165  points.  Figure  1,  .0968;  2  to  0,  .1107 

HOW  IS  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  12 

24  Point  Cloister  Italic  (24A225)  Lower  case  alphabet.  218  points.  Figure  1.  .1107;  2  to  0.  .1383 

HOW  IS  one  to  assess  and  evaluate  a  type  fa  12 

30  Point  Cloister  Italic  (30A163)  Lower  case  alphabet.  257  points.  Figure  1,  .1383;  2  to  0,  .166 

HOW  IS  one  to  assess  and  evaluate  a  12 

—  and  on  the  A-P-L,  a  complete  size  range  from  i8  /o  72  point  inclusive.  Cloister  Italic  is  also 
available  in  A-P-L  matrices,  from  18  to  48  point  inclusive. 


M    M    M 

18  24  30 


es,  from  1 8  to  48  point  inclusive.  TT         Tf 

MMMM  M 


264 


LIST   OF   CHARACTERS    IN   TWO-LETTER    FONTS 
WITH    ITALIC   AND    SMALL   CAPS 

ABCDEFGHIJKLMNOPQRSTUVWXYZ 
ABCDEFGHIJKLMNOPQRSTU  V  WXYZ 

ABCDEFGHIJKLMNOPQRSTUVWXYZ 

12345  abcdefgliijklmnopqrstuvwxyz  67890 

VBCDE  abcdefghijkliinopqrstiivwxyz 

,  .  :  ;  ?  !  (  I  )  =s--  "  -  —  /E  CE  tfe  &  £  ^ 
, .  s  ;  P  /  A  I  Q  o  '  ' /E  CE  tb  ^  £p  -L 

12345  Z&::()""(5lftflffiffl^aeoe 

12345  V  &:()'"'&  n  fl  ffi  ffl  $  cE  ce 


Vs  %  y^ViVs'Ay. 


X  z  a:  /E  CE 


ioj   ' 


/t' 


FGRTJ 

fiflff  ffifflace 

f  Y  ff  W  M  K  H 

67890    ;  : 

67890     ',  : 

t1:§1|-[} 


SWASH    CHARACTERS  OLD    STYLE    FIGURES 

'BC'Degy3^'^T%T'vr^    1234567890      12^4^67890 


cA 


Maile  ill  all  point  si/ps  .-iiiil  iiuluili-cl  in  all  i..iits 


Made  only  in  6,  8,  10,  11,  12  and  H  Point  CK.ister  with  Italic 

and  Small  Caps.  These  tiKures  will  he  sulistiliiled  fur  those 

re.^ularly  furnished  with  a  fotit,  if  so  ordered. 

tir  they  ni.iy  he  ad<led  as  an  extra 


ONE-LETTER     ROMAN    LOGOTYPES 
SPtCIAL    NO-    5 


fa   fe   fo   fr  fs   ft   fu   fy   ffa   ffe   ffo   ffr   ffs   ffu   ffy   f,    f   f-   fF,   ff.   ff-   f   ff 

ONE-LETTER     ITALIC    LOGOTYPES 

FA   PA   TA   VA    WA   YA   Th   Wh 

SPECIAL    HO,    S 

af   aff   ef   ejf   hj    if   ,jf   kf   If    mj   nf    of   off   pf   rf   sf    tf    uf    uff   yf    If    Of    Off 

ONE-LETTER     ITALIC 
SPECIAL    NO.   5 

abcdcfghijklrnnopqrstiivwxyz 

TRUE-CUT    SMALL    CAPS 
SPECIAL    NO     5 

ABCDEFGHIJKLMNOPQRSTUVWXYZa: 


TWO-LETTER     LOGOTYPES 

Ta  Te  To  Tr  Tu   Tw  Ty   Va   Ve  Vo  Wa   We  Wi  Wo  Wr  Ya  Ye   Y) 

Ta    Te    To    Tr    Tu    Tw    Ty    Va    Ve    Vo    Wa    We    Wi  Wo    Wr    Ya    Ye    Yo 

fa  fe  fo  fr   fs  ft  fu   fy  ffa  ffe  ffo  ffr  ffs  ffu  ffy  f,  f   f-  ff,  ff.   ff-   f    ff 

fa  fe  fo  fr  fs  ft  fu   fy  ffa  ffe  ffo  ffr  ffs  ffu   ffy  f  f  f  ff  ff  ff  f  ff 


(LINOTYPE     ) 


265 


Six  Point  Cloister 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE 
DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING 

How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its 
esthetic  design?  Why  do  the  pace-makers  in  the  art  of  print- 
ing rave  over  a  specific  face  of  type?  What  do  they  see  in 
it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good 
design  is  always  practical  design.  And  what  they  see  in  a  good 
type  design  is,  partly,  its  excellent  practical  fitness  to  perform 
its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just 
right  for  its  size,  as  any  good  tool  has.  Your  good  chair  has 
all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly 
the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick, 
nor  "skinny"  and  weak,  no  waste  of  material  and  no  lack  of 
strength.  And,  beyond  that,  the  chair  may  have  been  made  by 
a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and  curves 
and  proportions:  it  may  be,  actually,  a  work  of  art.  The  same 
thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  let- 
ter (if  a  true  artist  made  it)  will  have,  besides  its  good  looks. 
a  suitability  to  the  nth  degree  to  be  sat  in.  or  stamped  on 
paper  and  read.  That  explains,  in  a  way,  why  the  experts  rave 
over  the  fine  shapes  of  letters;  but  it  fails  to  explain  wherein 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its 
esthetic  design?   Why  do  the  pace-makers  in  the  art  of  print- 
ing  rave  over  a  specific  face  of  type?    What   do  they  see   in 
(solid) 


FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY 
RAVE  OVER  A  SPECIFIC  FACE  OF  TYPE?  WHAT  DO 
How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its 
esthetic  design?  Why  do  the  pace-makers  in  the  art  of  print- 
ing rave  over  a  specific  face  of  type?  What  do  they  see  in 
it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good 
design  is  always  practical  design.  And  what  they  see  in  a  good 
type  design  is,  partly,  its  excellent  practical  fitness  to  perform 
its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just 
right  for  its  size,  as  any  good  tool  has.  Your  good  chair  has 
all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly 
the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick, 
nor  "skinny"  and  weak,  no  waste  of  material  and  no  lack  of 
strength.  And,  beyond  that,  the  chair  may  have  been  made  by 
a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and  curves 
and  proportions:  It  may  be,  actually,  a  work  of  art.  The  same 
thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  let- 
ter (if  a  true  artist  made  it)  will  have,  besides  its  good  looks, 
a  suitability  to  the  Hth  degree  to  be  sat  in,  or  stamped  on 
paper  and  read.  That  explains,  in  a  way,  why  the  experts  rave 
over  the  fine  shapes  of  letters;  but  it  fails  to  explain  wherein 
the  shapes  are  fine.  If  you  seek  to  go  further  with  the  inquiry, 
(one  point  leaded) 


ABCDEFGHUKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&' 

ABCDEFGHIJKLMNOPQRSTUVWXVZ& 

abcdefghijklmnopqrstuvwxyzfiflffffiffl  I  234567890 (^£..:;'-'?!*t)  1 234567890 
abcdefghijklmnopqrstuvwxyzfiflffffiffll 2 34^67890 ($£,.: ;'■'?!   Y)  1234^67890 


Matrix  Information :  6A280.  Lower  case  alphabet,  80  points 
channel  magazine.  Code  word.  JEIM. 


Figures,  .0484;  comma,  period  and  thin  space,  .0277.  Runs  in  90 


Eight  Point  Cloister 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE 
DESIGN?  WHY  DO  THE  PACE-MAKERS  IN 

How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant 
to  their  eyes?  Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design  is,  partly, 
its  excellent  practical  fitness  to  perform  its  work.  It 
has  a  "heft"  and  balance  in  all  of  its  parts  just  right 
for  its  size,  as  any  good  tool  has.  Your  good  chair  has 
all  of  its  parts  made  nicely  to  the  right  size  to  do  ex- 
actly the  work  that  the  chair  has  to  do,  neither  clumsy 
and  thick,  nor  "skinny"  and  weak,  no  waste  of  mate- 
(solid) 

The  same  thing  holds  for  shapes  oj  letters.  A  nd  your  chair, 
or  your  letter  (if  a  true  artist  made  it)  will  have,  besides  its 
good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or 
stamped  on  paper  and  read.  That  explains,  in  a  way,  why 
(Onc-Letier  Italic) 


A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC 
THE  ART  OF  PRINTING  RAVE  OVER  A  SPE 
How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant 
to  their  eyes?  Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design  is,  partly, 
its  excellent  practical  fitness  to  perform  its  work.  It 
has  a  "heft"  and  balance  in  all  of  its  parts  just  right 
for  its  size,  as  any  good  tool  has.  Your  good  chair  has 
all  of  its  parts  made  nicely  to  the  right  size  to  do  ex- 
actly the  work  that  the  chair  has  to  do,  neither  clumsy 
and  thick,  nor  "skinny"  and  weak,  no  waste  of  mate- 

(onc  point  leaded) 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-ma    g  j  p  q  y 

(set  with  long  descenders,  on  nine  point  body} 


ABCDEFGHIJKLMNOPQRSTUVWXYZ&: 
ABCDEFGH1JKLMNOPQRSTUVWXYZ& 

ABCDEFGHIJKLMNOPQRSTUVWXYZaj 

abcdefghijklmnopqrstuvwxyzfiflflFflifHl234567890(^£,.:;'-'?!*t)  1234567890 
abcdefghtjklmnopqrstuvwxyzfiftffffifflI234H7890(H,-:;'-'?!  ^1234^67890 


ONE-LETTER  ITALIC,  SPECIAL  NO,  5 

abcdejghijklmnopqrstuvwxyz 


TRUE-CUT  SMALL  CAPS,  SPECIAL  NO.  5 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 


Matri.r  Information:  8A378.  Lower  case  alphabet,  96  points.  Figures,  .0553:  comma,  period  and  thin  space.  .02/7.  Runs  in  90 
channel  maga;^ine.  Code  word,  JEKA. 


266 


Ten  Point  Cloister 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ES 
DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OV 

How  IS  ONE  to  assess  and  evaluate  a  type  face 


How  IS  ONE  to  assess  and  evaluate  a  type  face 
in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over 
a  specific  face  of  type?  What  do  they  see  in 
it?  Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design  is, 
partly,  its  excellent  practical  fitness  to  perform 
its  work.  It  has  a  "heft"  and  balance  in  all  of  its 

(  uiw  puiul  leaded  I 

How  is  one  to  assess  and  evaluate  a  type  face 


in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over 
a  specific  face  of  type?  What  do  they  see  in 
it?  Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design  is, 
partly,  its  excellent  practical  fitness  to  perform 
its  work.  It  has  a  "heft"  and  balance  in  all  of  its 
parts  just  right  for  its  size,  as  any  good  tool  has. 
Ysur  good  chair  has  all  of  its  parts  made  nicely 
to  the  right  size  to  do  exactly  the  work  that  the 
chair  has  to  do,  neither  clumsy  and  thick,  nor      in  terms  of  its  esthetic  design?  Why    gjpqy 

(solid  I  (set  -ivitli  lotuj  descenders,  on  eleven  point  body) 

How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  design  is  always  practical  design.  And  what  they  see  in 
a  good  type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has.  "Vour  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy 
and  thick,  nor  "skinny"  and  weak,  no  waste  of  material  and  no  lack  of  strength.  And,  beyond  that, 
the  chair  may  have  been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and  curves 
and  proportions:  it  may  be,  actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of  letters. 
And  your  chair,  or  your  letter  (if  a  true  artist  made  it)  will  have,  besides  its  good  looks,  a  suitabil- 
ity to  the  Hth  degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That  explains,  in  a  way,  why  the 
experts  rave  over  the  fine  shapes  of  letters;  but  it  fails  to  explain  wherein  the  shapes  are  fine.  If  you 

(two  point  leaded) 

The  same  thing  holds  for  shapes  of  letters.  A  nd  your  chair,  or  your  letter  (if  a  true  artist  made  it)  will  have, 
besides  its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That  ex- 
plains, in  a  way,  why  the  experts  rave  over  the  fine  shapes  of  letters;  but  it  fails  to  explain  wherein  the  shapes 
are  fine.  If  you  seek  to  go  further  with  the  inquiry,  theories  will  be  your  only  answer.  Here  is  a  theory  that  the 

{One-Letter  Italic) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&: 
ABCDEFGH1JKLMNOPQRSTUVWXYZ& 

ABCDEFGHI J  KLMNOPQRSTU  VWXYZS: 

abcdefghijklmnopqrstuvwxyzfiflfrfflffll234567890(>^£,.:;'-'?!*t)  1234567890 
abcdejghijklmnopqrstuvwxyzjiflffffiffll234367890($i,.:;'-'?!  {)  1234562890 

T'SUE-CUT  SMALL  CAPS.  SPECIAL  NO.  5 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ONE-LETTER  ITALIC,  SPECIAL  NO.  5 

abcdefghijklmnopqrstuvwxyz 

.0(,J2;  comiii.'i.  period  ; 


Matrix  Infor; 
cliaiuiel  mns:.^ 


lation:  lOA-'^lS.  Lower  case  alphahel.  110  points.  Fi.^'urc 
ine.  Code  word.  .TELE. 


id  thin  space.  .0.111.  Runs  in  90 


(LINOTYPE     )  Z:^ 


267 


Eleven  Point  Cloister 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  IT 
ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRIN 

How  IS  ONE  to  assess  and  evaluate  a  type  How  is  one  to  assess  and  evaluate  a  type 

face  in  terms  of  its  esthetic  design?  Why  do  face  in  terms  of  its  esthetic  design?  "Why  do 

the  pace-makers  in  the  art  of  printing  rave  the  pace-makers  in  the  art  of  printing  rave 

over  a  specific  face  of  type?  What  do  they  ^^^^  ^  specific  face  of  type?  What  do  they 

see  in  it?  Why  is  it  so  superlatively  pleasant  ^^^  j^  ■^■,  y^^^  -^  -^  ^^  superlatively  pleasant 


to  their  eyes?  Good  design  is  always  practical 


to  their  eyes?  Good  design  is  always  practical 

design.  And  what  they  see  in  a  good  type  de-       r    •        a     i     i        t  •  i  i 

^1     •  11     ^         .•     I  £.        ^        design.  And  what  they  see  in  a  good  type  de- 

sign is,  partly,  its  excellent  practical  htness  to  °  '  °    .  .'^ 

perform  its  work.  It  has  a  "heft"  and  balance  ^'S"  '^^  P^"'>''  '^^  excellent  practical  fitness  to 
in  all  of  its  parts  just  right  for  its  size,  as  any  perform  its  work.  It  has  a  "heft"  and  balance 
good  tool  has.  Your  good  chair  has  all  of  its  i"  a^l  of  its  parts  just  right  for  its  size,  as  any 
parts  made  nicely  to  the  right  size  to  do  exact-  good  tool  has.  Your  good  chair  has  all  of  its 
ly  the  work  that  the  chair  has  to  do,  neither  parts  made  nicely  to  the  right  size  to  do  exact- 
clumsy  and  thick,  nor  "skinny"  and  weak,  no  ly  the  work  that  the  chair  has  to  do,  neither 

(solid)  (one  point  leaded) 

How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  practical  design.  And 
what  they  see  in  a  good  type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its 
work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has. 
Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly  the  work  that 
the  chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of  material 
and  no  lack  of  strength.  And,  beyond  that,  the  chair  may  have  been  made  by  a  man  who 
worked  out  in  it  his  sense  of  fine  shapes  and  curves  and  proportions:  it  may  be,  actually,  a 
work  of  art.  The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  letter  (if  a 
true  artist  made  it)  will  have,  besides  its  good  looks,  a  suitability  to  the  nth.  degree  to  be  sat 
in,  or  stamped  on  paper  and  read.  That  explains,  in  a  way,  why  the  experts  rave  over  the  fine 
shapes  of  letters;  but  it  fails  to  explain  wherein  the  shapes  are  fine.  If  you  seek  to  go  further 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  practical  design.  And 

(/7V0  point  traded) 

ABCDEFGHIJKLMNOPQRSTUVWXYZSi 
A  BCDEFGHIJKLMNOPQRST  U  V  WXYZ& 

ABCDEFGHIJ  KLMNOPQRSTUVWXYZS: 

abcdefghijklmnopqrstuvwxyzfiflffffiffll234567890(^£,.:;'-'?!*|)  1234567890 
abcdefghijklmnopqrstuywxyzfififfffiffin34367890($£,.:;-?!  \)  1234^67890 

Matrix  hijovmation:  nA9S.  Lower  case  alphabet.  116  points.  Figures.  .0657;  comma,  period  and  thin  space.  .0328.  Runs  in  90 
channel  layout.  Code  word,  JEMI. 


("«  LINOTYPE"") 


268 


Twelve  Point  Cloister 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS 
OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  A 
How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do 
the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see 
in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  practical 
design.  And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent  practical  fitness  to 
perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do 
exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and 
weak,  no  waste  of  material  and  no  lack  of  strength.  And,  beyond  that,  the  chair  may 
have  been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and  curves  and 
proportions:  it  may  be,  actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of  let- 
ters. And  your  chair,  or  your  letter  (if  a  true  artist  made  it)  will  have,  besides  its  good 
looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That 
explains,  in  a  way,  why  the  experts  rave  over  the  fine  shapes  of  letters;  but  it  fails  to  ex- 
plain wherein  the  shapes  are  fine.  If  you  seek  to  go  further  with  the  inquiry,  theories  will 
be  your  only  answer.  Here  is  a  theory  that  the  proponent  thinks  may  have  sense  in  it: 
Fine  type  letters  were,  in  the  first  place,  copies  of  fine  written  letters.  Fine  written  letters 
were  fine  because  they  were  produced  in  the  most  direct  and  simple  way  by  a  tool  in  the 

(on,-  f"'"t  Iradni) 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do    g  j  p  q  y 

( .u-t  -.cilli  long  J,Si;-iulrrs.  «>i  thirti-cn  foint  body) 

The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  letter  (if  a  true  artist  made 
it)  will  have,  besides  its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped  on 
paper  and  read.  That  explains,  in  a  way,  why  the  experts  rave  over  the  fine  shapes  of  letters; 
but  it  fails  to  explain  wherein  the  shapes  are  fine.  If  yoii  seek  to  go  further  with  the  inquiry, 

(Oiu--!.rllrr  Italic) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&: 
ABCDEFGHIJKLMNOPQRSTUV  WXYZ& 

ABCDEFGHIJKLMNOPQRSTUVWXYZS: 

abcdefghijklmnopqrstuvwxyzfiflffffifH  1234567890  (^£,.:;'-'?!*t)  1234567890 
abcdefghijklmnopqrstuvwxyzfiflffffijfl  1234^67890  ($£,.:{-'?!  \)  1234^67890 

TRUE-CUT  SMALL  CAPS.  SPECIAL  NO    5 

ABCDEFGHIJKLMNOPQRSTUVWXYZa: 

ONE-LETTER  ITALIC,  SPECIAL  riO    5 

abcdefghijklmnopqrstuvwxyz 

Matrix  iKJormatinn:  l^A-R'l.  I.rnver  case  .-ilplialx-t.  1  .M  points.  KiKUrps.  Av,')2;  omniia.  period  ami  thin  space.  .0.346.  Kims  in  90 
channel  m.ma/ine.  (..ile  word.  Jl'Xn. 


(      LINOTYPE     ) 


269 


Fourteen  Point  Cloister 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN 
TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MA 
How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type? 
What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good 
design  is  always  practical  design.  And  what  they  see  in  a  good  type  design  is, 
partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has.  YDur  good 
chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly  the  work  that 
the  chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste 
of  material  and  no  lack  of  strength.  And,  beyond  that,  the  chair  may  have  been 
made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and  curves  and  pro- 
portions: it  may  be,  actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of 
letters.  And  your  chair,  or  your  letter  (if  a  true  artist  made  it)  will  have,  besides 
its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped  on  paper 

(o}TC  point  leaded) 

How  i$  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  f  ac    g  j  p  c[  y 

(set  ivith  long  descenders,  on  fifteen  point  body) 

The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  letter  (if  a  true  art- 
ist made  it)  will  have,  besides  its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in, 
or  stamped  on  paper  and  read.  That  explains,  in  a  way,  why  the  experts  rave  over  the 
fine  shapes  of  letters;  but  it  fails  to  explain  wherein  the  shapes  are  fine.  If  you  seek,  to 

,.  (One-Letter  Italic) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&: 
ABCDEFGHl]KLMNOPqRSTUVWXYZ& 

ABCDEFGHIJ  KLMNOPQRSTUVWXYZai 

abcdefghijklmnopqrstuvwxyzfiflffffiffll23456789(^£,.:;'-'?!*t)  123456789 
abcdefghiiklmnopqrstuvwxyijxjlffffiffll23436789($£,.:;'-'?l  \)  12^4^6^89 

TRUE-CUT  SMALL  CAPS,  SPECIAL  NO.  5 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ONE-LETTER  ITALIC.  SPECIAL  NO.  5 

abcdefghijklmnopqrstuvwxyz 

Matrix  Injormation:  14A162.  Lower  case  alphabet,  139  points.  Figures,  .083;  comma,  period  and  thin  space,  .0415.  Runs  in  90 
channel  magazine.  Code  word,  JEON. 


(LINOTYPE) 


270 


Eighteen  Point  Cloister 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  T 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its 
esthetic  design?  Why  do  the  pace-makers  in  the  art  of  print- 
ing rave  over  a  specific  face  of  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design 
is  always  practical  design.  And  what  they  see  in  a  good  type 
design  is,  partly  its  excellent  practical  fitness  to  perform  its 
work.  It  has  a  ^^heft"  and  balance  in  all  of  it  (^,.:;V?!fiMffiffl) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&: 

abcdefghijklmnopqrstuvwxyz  1234567890 

Miitiir  hifinmalioii :  18A-0.1.  I-cnver  case  alphabet.  177  p.iints.  FiKUrc  1.  .Q9l',R;  2  to  0.  .11(17.  Runs  in  "0  cliannel  magazine. 
\(,  pnint  alignment.  Code  wi.rd.  JEOV. 

Twenty-Four  Point  Cloister 

HOW  IS  ONE  TO  ASSESS  AND  EVA 
How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  spe- 
cific face  of  type?  What  do  t  (^,.:;^-'?!fiflffffiffl) 

(thn-r  r.'iul  h-adrd) 

ABCDEFGHIJKLMNO 
PQRSTUVWXYZ&:  1234567890 

abcdefghijklmnopqrstuvwxyz 

Matiir  J ujinnuiticu  •  J-fA-^V  I.tnver  c;t<;t'  alphabet.  2.^3  points.  FiKuro  I.  .11(17;  2  to  0.  .K^S.l.  Kuiis  in  72  channel  iiiaga/ine;  also 
lower  <  asc  in  (.ip  (.Iianiicls  nf  *.H)  (.hannel  inaRazine  with  caiis  and  t'iKurcs  in  34  channel  auxiliary  niau'a/ine  22  point  alicnnient, 
(■...i(-  wild.  jKrr. 


c 


271 


Thirty  Point  Cloister 

HOW  IS  ONE  TO  ASSESS  AN 

How  is  one  to  assess  and  evaluate  type 
faces  in  terms  of  their  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of 
printing  rave  over  a  specific  type  face? 
What  do  they  see  in  it?  Why  so  super- 
latively pleasant  to  their  eyes?  A  good 
design  is  always  a  practical  design.  And 
what  they  see  in  a  good  type  design  is^ 

partly,  its  excellent  practical  fitness  to 
performitswork.Ith(^,.:;V?!fiflffffiffl) 

(foitr  point  leaded) 

ABCDEFGHIJKLMNOPQ 
RSTUVWXYZ&:  1234567890 

abcdefghijklmnopqrstuvwxyz 

Matrix  Information:  30A161.  Lower  case  alphabet.  281  points.  Figure  1,  .1383;  2  to  0.  .166.  Runs  in  Wide  72  channel  magazine; 
also  lower  case,  except  m  and  \v,  in  cap  channels  of  90  channel  magazine  with  caps  and  figures  in  Wide  34  channel  auxiliary 
magazine.  28  point  alignment.  Code  word,  JERA. 


("LINOTYPE"    ) 


272 


Thirty-Six  Point  Cloister 

How  can  one  assess  and  evaluate 
a  type  face  in  terms  of  its  esthetic 
design?  Why  do  all  pace-makers 
in  the  art  of  printing  rave  over  a 
specific  type  face?  What  do  they 
see  in  it?  What  makes  it  so  super- 
latively pleasant  to  their  eyes?  A 
good  design  is  always  a  practical 
design.  And  what  they  see  in  all 
of  (^,.:;^-'?!fiMffiffl)  1234567890 

ABCDEFGHIJKL 
MNOPQRSTUVWXYZ&: 

abcdefghijklmnopqrstuvwxyz 

Miitrix  Injormation  :  .^6A'51-  Lower  case  alphabet,  .13S  points.  Figure  1,  AGG',  2  to  0,  .1937.  Runs  in  Wide  73  channel  magazine; 
also  lower  case  in  caji  rliaiinels  of  7J  channel  magazine  with  caps  and  fisurcs  in  Wide  34  channel  auxiliary  magazine.  34  point 
alignment.  Code  word,  JESE. 

(     LINDTYPE"   )  : 


273 


A-P-L 


AU-Pin-posc  Linotype  matrices  are  also  available  in  18.  24,  30  and  36  point  sices 


42  Point  Cloister 


(42A1019)  Lower  case  alphabet.  387  points.  Code  word,  ZAMKA 


How  can  one  evaluate  a  type 
fac  abcdefghjklmnopqrstuv 
wxyz  (^,.:;'-'?!fiflfFffiffl)  12345 

ABCDEFGHIJKLM 
NOPQRSTUVWXYZ& 

48  Point  Cloister 

(48A10iy)  Lower  case  alphabet.  446  points.  Code  word,  ZAMLE 

How  is  one  to  assess  abed 
efghijklmnopqrstuvwxy 

z  (i,.f -?!fiMffiffl)  12345 

ABCDEFGHIJKLM 
NOPQRSTUVWXY 

A-P-L 


274 


A-P-L 


60  Point  Cloister 

((jOZilliT'l  l.r.wcr  case  ali)h;U)et.  SM  points.  Cudc  ivurd.  ZA.M.MI 

How  can  one  evalu- 
ate and  assess  a  type 
face  in  ter  abcdef gh 

ijklmopqrstuvwxyz 
(^,.:;V?!fiflfFffiffl)  23 


(six  point  leaded) 


ABCDEFGHJ 
KLMNOPQRST 


UVWXYZ&: 


275 


A-P-L 


72  Point  Cloister 

(72A1019)  Lower  case  alphabet,  67J  points.  Code  word,  ZAMNO 


IS  one  to  as- 


fghijkl 


mn 


opqrstuvwxyz  12 
-?!fiflfFffiffl) 

ABCDEFG 

HJKMNOPQ 

RSTVWY 


A-P-L 


276 


Eighteen  Point  Cloister  Italic 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYP 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic 
design?  Why  do  the  pace-makers  in  the  art  of  printing  rave  over 
a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so  super- 
latively pleasant  to  their  eyes?  Good  design  is  always  practical 
design.  And  what  they  see  in  a  good  type  design  is,  partly  its  ex- 
cellent practical  fitness  to  perform  its  work-  It  has  a  ^^ heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size  ($,.:f-'?!fflfffjiffl) 


(/;i'-.  p.'ini  IcaJfJ) 


ABCDEEGHlJKLMNOPqRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyz  1234567890 

Miilrl.r  hiiormalinn:  lSA3i17.  Lower  case  alphabet.  1<)5  points.  I'iyme  t,  M'lun;  2  tn  II.  .1107.  Huns  in  '«!  thaiinel  magazine. 
11)  pciiil  allKiimiMit.  r.Kle  word.  JETI. 

Twenty-Four  Point  Cloister  Italic 

HOW  IS  ONE  TO  ASSESS  AND  EVALU 
How  is  one  to  assess  and  evaluate  any  type  face 
in  terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  s  ($,.:f-'?!fflfffjlffl) 

(three  txjinl  leaded) 

ABCDEFGHUKLMNO 

PqRSTUVWXYZ&  1234567890 

abcdefghijklmnopqrstuvwxyz 

Matrix  I u format iotr :  24A--^-  T.nwor  case  alplialiet.  21.*^  pniiils.  Figure  I.  .1107;  2  to  0.  .l.^s'V  Runs  in  72  channel  magazine;  als- 
lower  case  in  cap  channels  of  W  channel  niaga.<?ine  with  caps  anil  liguros  in  J-4  channel  auxiliary  magazine.  Ji  point  alignment 
Code  word,  JKUP. 


(      LINOTYPE     ) 


277 


Thirty  Point  Cloister  Italic 

HOW  IS  ONE  TO  ASSESS  AND  E 

How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing 
rare  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively 
pleasant  to  their  eyes?  A  good  design  is 
always  a  practical  design.  And  what  they 
see  in  a  good  type  design  is^  partly^  its  excel- 
lent practical  fitness  to  perform  its  work. 
It  has  a  %efe'and  ba  ($,-;-'? I fiflffffiffl) 


(two  point  leaded  i 


ABCDEFGHIJKLMNO 
PqRSTUVWXYZ&  1234567890 

abcdefgh  ijklmnopqrstuvwxyz 

Matrix  Injormation :  30AI63.  Lower  case  alphabet.  257  points.  Figure  1.  .1383;  2  to  0.  .166.  Runs  in  72  channel  magazine;  also 
lower  case,  except  ni.  in  cap  channels  of  90  channel  magazine  with  caps  and  figures  in  Wide  34  channel  auxiliary  magazine. 
28  point  alignment.  Code  word.  JEVO. 


(     LINOTYPE"') 


278 


All-Purpiisc  Liiintype  matrices  arc  also  available  in  IS,  24  ami  30  paint  sizes 

36  Point  Cloister  Italic 

(36A10-'())  Lower  case  alphabet.  2'J.^  points.  Code  word,  ZAZCU 

How  can  one  assess  and  evaluate  type 
faces  in  terms  of  their  esthetic  design  ? 
Why  do  the  pace-makers  abcdefghijk 

Imnopqrsturwxyz  ($,.''y  ^-^^-fiflffffiffl) 

ABCDEFGHIJKLM 
NOPQRSTUVWXYZm2345 

42  Point  Cloister  Italic 

(42A102n)  I.i.wer  case  alplialiet.  .VH  points.  Cde  w..rd.  ZAZD.X 

How  is  one  to  assess  and  evaluate 
a  typeface  in  terms  of  its  esthetic 
design  orabcdefghijklmnopqrstu 


MNOPQRSTUVJVXYZ& 


279 


A-P-L 


48  Point  Cloister  Italic 

(48A10JUI  l.ouL-r  tase  alphabet.  379  points.  Code  word.  ZAZED 

How  can  one  assess  or  evalu- 
ate typefaces  in  terms  of  their 
esthetic  designs?  Why  do  the 


inting 


arts 


'erstnp 
rave  over  a  specific  typeface? 
What  do  they  see  in  it?  Why 
ahcdefghijklmopqrstuvwxyz 

{$,-;-'?lfiflffffiffi)  1234567 


(three  t>oint  leaded) 


ABCDEGHJKLM 
NPQRSTUVWXYZ& 

A-P-L 


280 


WHAT  IS 


? 


fortune''. 

perhaps,  but  really 

not  always  fine  riches— 
not  always  great  fame  — 
nor  even  romance  .  .  . 


faith  maybe,  about 

like  that  of  Joe  Pitt,  in 
this  book — the  decency 
of  Ted  Robinson,  the 
courage  of  Ida  Lott  .  .  . 

things  that  give  as 

the  Daily  Bugle  says  of 
the  story,  "a  victorious 
gusto  to  the  present." 

ask  for: 

FORTUNE 

By  BRUCE  GREFF 

2nd  Printing.        ^2.50 


Advertisement  set  in  1-4  pi'iiit  Cluister  Wiiie  with 
Cloister  Bold;  Ai  point  (  l.nster  Italic,  A-l'-l.;  and 
24  point  Cloister  liuld.  Kule:  6  point  Matrix  Slide 
No.  270. 


Advertising  Figures 

CLOISTER   BOLD    •    18  to  42  point 


1234567890 

42A51.  r'uiulied  in  auxiliary  position.  FiKure  1.  .2075:  2  to  0,  .2767.  For  two  line  IS  p(,int 
from  Display  Mold  or  llirec  line  12  point  from  Special  .\dvcrtisiiiK  FiKure  Mold.  Huns  in 
Wide  .14  channel  an.Niliaiy  m.iua/iiie.  Code  word.  ZKMCA. 

1234567890 

36A1J7.  Punched  in  auxiliary  position.  Fisjure  1.  .1798:  2  to  0.  .2352.  For  two  line  18  point 
from  Display  Mold  or  three  line  12  iioiiit  from  Special  AdvertisiiiK  Fisurc  Mold.  Kuns  in 
left  side  of  ^A  channel  auxiliary  inaKa/iiie  and  in  Wide  .^4  channel  auxiliary  inaKa/ine.  Code 
word.  ZELZU. 

1234567890 


30Al'-'5.   Punched  in 
Runs  111  all  au\iliai 


oriiial  position,    l-'igiire   I.   .1^22;  2  in  o,     rM7.    I-,,r  two  line  12  P"iiit. 
riiaKa/iiies.  t  ode  word.  Z.VFIR. 


1234567890 


24A-/'J.  Punched  in  normal  position.  Figure  1.  .124,=^; 
Kuns  in  9(J  ch,-innel  niaKai:ine.  advertisim;  tiyur*'  dwn 
Code  word,  ZAFAN. 


2  to  0.  .15JJ.   For  two  line  10  point. 
iH'N   and    in   all   auxiliary   niaKa/incs. 


1234567890 


1SA323.  I'unched  in  nonii.il  positi..n.  FiKure  1.  OOo.s-  2  to  0.  .1107.  For  two  line  S  point.  Runs 
in  00  (  h.innel  TiiaK.i^nie.  lek'ular  tiguie  and  adverli^inii  figure  channels  and  iii  all  auxiliarv 
iiiaga/iues.  I  ode  word.  ZADUY. 

Note  :  Fractions,  puints,  cent  mark,  mid  other  couintcixial  iltaiac'ti-i  s  arc  ai'ailahlc  for  these 
laci-i. 


specifications  of  the  Superior  De  Luxe  Phaeton 


ENGINE:  Eight  cylinders;  valve-in- 
head  type;  3*8  "  bore;  4"  stroke. 
CYLINDERS:  cast  en  bloc  (includ- 
ing upper  half  of  crankcase)  .  Head 
detachable. 

VALVES:  Intake  diameter  is  I'/i"; 
exhaust  diameter  is  1  ',  2  . 
CRANKSHAFT:  Weight  is  69  lbs. 
Is  counterbalanced.  Harmonic  bal- 
ancer combined  with  the  crankshaft 
pulley.  Three  main  bearings. 
TRANSMISSION:  A  Syncro-Mesh 
silent-second  model,  three  speeds  are 
forward  and  one  is  in  reverse;  unit 
power  plant  construction. 


FUEL:  Mechanical  fuel  pump.  14- 
gallon  tank  in  rear.  Gasoline  gauge 
on  instrument  panel. 

IGNITION:  Delco-Remy  with  high 
tension  wires  expertly  waterproofed. 
Automatic  and  vacuum  spark  con- 
trol. Octane  Selector  is  connected  to 
the  distributor. 

CLUTCH:  A-1  improved  dry  single 
plate.  Latest  single  cushion-mounted 
clutch  disc  with  all  braided-moulded 
facings. 

CONTROLS:  Rubber  pads  on  the 
clutch  and  brake  pedals.  Treadle  ac- 
celerator pedal  also  operates  starter. 


COOLING:  Harrington  "V"  center 
core  radiator,  water  pump  on  fan. 
Core  material:  copper. 
KNEE-ACTION  UNIT:  includes 
double-action  shock  absorbers. 
REAR  AXLE:  Semi-floating  type. 
One-piece  banjo-type  pressed  steel 
housing:  one-piece  differential  case. 
STEERING  GEAR:  Worm  and  sec- 
tor type,  semi-reversible.  17 ','2  to  1 
ratio. 

BRAKES:  Finest  four-wheel  service 
internal-expanding  type  on  the  12" 
brake  drums  front  and  rear;  width 
of  brake  lining  is  \Va" . 


CataloK  set  in  8  Jioiiit  Cloister  Wide  with  Cloister  Bold  on  a  ')  lioiiil  liody.    l)i-pla 
A-P-L;  24  point  Cloister  Itcdd   Italic.  A-P-L:  and  24  point  tloister    Hold.    Kule 


:  42  point  Cloister   ll.ild   Ii 
S   point    .Matrix   .s-iule    .No. 


Cloister  Bold  •  Comparison  of  Sizes 

6  Toint  Cloister  Bold  with  Italic  (6A-6S)  Lower  case  alphabet,  90  points.  Figures,  .0553 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN? 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  art  1234 
HOW  IS  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  1234 

^  I'oint  Cloister  Bold  with  Italic  (:::A370I  Lower  case  alphabet,  105  points.  Figures,  .0622 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHET 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-  1234 
HOIV  IS  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pa  1234 

10  Point  Cloister  Bold  with  Italic  (10Aj02)  Lower  case  alphabet,  126  points.  Figures,  .0692 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  1234 
HOW  IS  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  W  1234 

12  Point  Cloister  Bold  with  Italic  (12A276)  Low-er  case  alphabet,  138  points.  Figures,  .083 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TER 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  1234 
HOW  IS  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  desi  1234 

14  Point  Cloister  Bold  with  Italic  (14A15-1)  Lower  case  alphabet,  157  points.  Figures,  .0968 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthet  1234 
HOW  IS  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  est  1234 

18  Point  Cloister  Bold  (18A243)  Lower  case  alphahet,  198  points.  Ficrure  1,  .0968:  2  to  0.  .1107 

HOW  IS  one  to  assess  and  evaluate  a  type  face  in  te  12 

24  Point  Cloister  Bold  (24A207)  Lower  case  alphabet,  255  points.  Figure  1,  .1245;  2  to  0,  .1522 

HOW  IS  one  to  assess  and  evaluate  a  tv  12 


30  Point  Cloister  Bold  (30A155) 


Lower  case  alphabet.  313  points.  Figure  1.  .1523;  2  to  0.  .1937 


HOW  IS  one  to  assess  and  evalu  12 

36  Point  Cloister  Bold  (36A137)  Lower  case  alphabet.  375  points.  Figure  1.  .1798;  2  to  0.  .2352 

HOW  IS  one  to  assess  an  12 


18  Point  Cloister  Bold  Italic  (18A245) 


Lower  case  altiliabet,  190  points.  Figure  1.  .0968;  2  to  0,  .1107 


H.OW  IS  one  to  assess  and  evaluate  a  type  face  in  term  12 

24  Point  Cloister  Bold  Italic  (24A209)  Lower  case  alphabet.  243  points.  Figure  1,  .1245;  2  to  0,  .1522 

HOW  IS  one  to  assess  and  evaluate  a  type  12 

30  Point  Cloister  Bold  Italic  (30A157)  Lower  case  alphabet,  301  points.  Figure  1,  .1522;  2  to  0,  .1937 

HOW  IS  one  to  assess  and  eralua  12 

36  Point  Cloister  Bold  Italic  (36A139)  Lower  case  alphabet,  349  points.  Figure  1,  .1798;  2  to  0.  .2213 

HOW  IS  one  to  assess  and  ell 


(,«.  LINOTYPE""') 


282 


LIST   OF   CHARACTERS    IN   TWO-LETTER    FONTS 

ABCDEFGHIJKLMNOPQRSTUVWXYZ 

ABCDEFGHIJKLMNOPQRSTUVWXYZ 

12345        abcdefghijklmnopqrstuvwxyz        67890 

12345        abcdejgh'ijkhnnopqrstuvwxyz        67890 

,.:;?!()=:=".  —  /E  CE  £e  ce  "  "  R  Ife  &  £  ^ 

,.:;?!(  \)-^'  '.  —  /E  CE  ce  <x  "  "  .  tb  &  £  $ 

Vs  V4  Vs  Vz  Vs  ^4  %     @     %  t  1:  §  H  -  [  ] 

Quasi    fiflffffiffl    :  : 
^asi   fiflffffiffl    ;  : 

SWASH    CHARACTERS 
M:i.If  Iti  .-ill  i...inl  -,!/<-,  .nnl  hi.  In<U-d  in  all  f,.ntv 


ONE-LETTER    ROMAN    LOGOTYPES 
SPECIAL   NO.   5 


fa  fe  fo  fr  fs  ft  fu  fy  ffa  ffe  ffo  ffr  ffs  ffu  ffy  f,  f.   f-  ff,   ff.  ff-  f  ff 

ONE-LETTER     ITALIC    LOGOTYPES 

FA  PA  TA  VA  WA  YA  Th  Wh 

SPECIAL    NO.    5 

/  «/  aff  ef  eff  lif  if  ijf  kf  If  mf  nf  of  off  pf  rf  sf  tf  uf  uff  yf  If  Of 

ONE-LETTER     ITALIC 
SPECIAL    NO.    5 

abcdefgh  ijklmn  opqrstuvwxyz 

TRUE-CUT    SMALL    CAPS 
SPECIAL    NO     5 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

TWO-LETTER    LOGOTYPES 

E  P.  Ta  Te  To  Tr  Tu  Tw  Ty  T.  Va  Ve  Vo  V  Wa  We  Wi  Wo  Wr  W.  Ya  Ye  Yo  Y. 
F.  P.  Ta  Tc  To  Tr  Tu  Tw  Ty  T.  Va  Vc  Vo  V.  Wa  We  Wi  Wo  Wr  W  Ya  Ye  Yo  Y. 

fa  fe  fo  f  r  f s  ft  f  u 

fa  fe  fo  fr  fs  ft  fu 


—and  a  complete  size  range  on  the  A-P-L,  from  18  to72  pt.  inclusive;  also  free- 
flowing  Cloister  Bold  italic,  18  io  48  pt.  inclusive.  TT        T^ 

mmmmmmMM 


18  2-1 


Six  Point  Cloister  Bold 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN? 
WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  OF  TYPE? 


How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of 
its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of 
printing  rave  over  a  specific  face  of  type?  What  do  they 
see  in  it?  Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design.  And  what 
they  see  in  a  good  type  design  is,  partly,  its  excellent 
practical  fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as  any 
good  tool  has.  Your  good  chair  has  all  of  its  parts  made 
nicely  to  the  right  size  to  do  exactly  the  work  that  the 
chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny" 
and  weak,  no  waste  of  material  and  no  tack  of  strength. 
And,  beyond  that,  the  chair  may  have  been  made  by  a 
man  who  worked  out  in  it  his  sense  of  fine  shapes  and 
curves  and  proportions;  it  may  be,  actually,  a  work  of 
art.  The  same  thing  holds  for  shapes  of  letters.  And  your 
chair,  or  your  letter  (if  a  true  artist  made  it)  will  have, 
besides  its  good  looks,  a  suitability  to  the  Hth  degree  to 
be  sat  in,  or  stamped  on  paper  and  read.  That  explains, 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of 
its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of 
printing  rave  over  a  specific  face  of  type?   What  do  they 

(solid) 


How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of 
its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of 
printing  rave  over  a  specific  face  of  type?  What  do  they 
see  in  it?  Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design.  And  what 
they  see  in  a  good  type  design  is,  partly,  its  excellent 
practical  fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as  any 
good  tool  has.  Your  good  chair  has  all  of  its  parts  made 
nicely  to  the  right  size  to  do  exactly  the  work  that  the 
chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny" 
and  weak,  no  waste  of  material  and  no  lack  of  strength. 
And,  beyond  that,  the  chair  may  have  been  made  by  a 
man  who  worked  out  in  it  his  sense  of  fine  shapes  and 
curves  and  proportions;  it  may  be,  actually,  a  work  of 
art.  The  same  thing  holds  for  shapes  of  letters.  And  your 
chair,  or  your  letter  (if  a  true  artist  made  it)  will  have, 
besides  its  good  looks,  a  suitability  to  the  nth  degree  to 
be  sat  in,  or  stamped  on  paper  and  read.  That  explains, 
in  a  way,  why  the  experts  rave  over  the  fine  shapes  of  let- 
(oui-  point  leaded)  _ 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflffffiffl(5£,.:;'-*?!*t)  1234567890 
abcdefghijklmnopqrstuvwxyzfiflffffiffK  $£,.:;'■*?  !^\  )1 234567  890 


Matrix  Information :  6A2f)8.  Lower  c 
channel  magazine.  Code  word,  JIEM. 


ise  alphabet,  90  points.  iMyures,  .0553;  coninia,  period  and  thin  space.  .0277.  Runs  in  90 


Eight  Point  Cloister  Bold 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHET 
DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A 


How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it 
so  superlatively  pleasant  to  their  eyes?  Good  de- 
sign is  always  practical  design.  And  what  they 
see  in  a  good  type  design  is,  partly,  its  excellent 
practical  fitness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right 
for  its  size,  as  any  good  tool  has.  Your  good 
chair  has  all  of  its  parts  made  nicely  to  the  righ' 
size  to  do  exactly  the  work  that  the  chair  has 
to  do,  neither  clumsy  and  thick,  nor  "skinny" 
and  weak,  no  waste  of  material  and  no  lack  of 
(solid) 

The  same  thing  holds  for  shapes  of  letters.  And  your 
chair,  or  your  letter  (if  a  true  artist  made  it)  will 
hare,  besides  its  good  looks,  a  suitability  to  the  nth 
degree  to  be  sat  in,  or  stamped  on  paper  and  read. 

(One-Letter  Italic) 


How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it 
so  superlatively  pleasant  to  their  eyes?  Good  de- 
sign is  always  practical  design.  And  what  they 
see  in  a  good  type  design  is,  partly,  its  excellent 
practical  fitness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right 
for  its  size,  as  any  good  tool  has.  Your  good 
chair  has  all  of  its  parts  made  nicely  to  the  right 
size  to  do  exactly  the  work  that  the  chair  has 
to  do,  neither  clumsy  and  thick,  nor  "skinny" 
and  weak,  no  waste  of  material  and  no  lack  of 
strength.  And,  beyond  that,  the  chair  may  have 
been  made  by  a  man  who  worked  out  in  it  his 
sense  of  fine  shapes  and  curves  and  proportions: 
(one  point  leaded) 


ABCDEFGHIJKLMNOPQRSTUVWXYZa: 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflffffiffl  (^£,.:;'-'?!*t)  1234567890 
abcdefghiiklmnopqrstuvwxyziiflffffiffl($£,.:;'-'?'.*\)  1234567890 


ONE-LETTER  ITALIC,  SPECIAL  NO.  5 

abcdef  ghijklmnopqrstuvwxyz 


TRUE-CUT  SMALL  CAPS,  SPECIAL  NO,  5 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 


Matrix  Infnrmatinn :  8A370.  Lower  case  alphabet.  109  points.  Figures,  .0622;  comma,  period  and  thin  space.  .0311.  Runs  in  90 
channel  magazine.  Code  word.  JILA. 


284 


Ten  Point  Cloister  Bold 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF 
ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do 
the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they 
see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  prac- 
tical design.  And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent  practical 
fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for 
its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the 
right  size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor 
"skinny"  and  weak,  no  waste  of  material  and  no  lack  of  strength.  And,  beyond  that, 
the  chair  may  have  been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes 
and  curves  and  proportions:  it  may  be,  actually,  a  work  of  art.  The  same  thing  holds 
for  shapes  of  letters.  And  your  chair,  or  your  letter  (if  a  true  artist  made  it)  will  have, 
besides  its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped  on  paper 
and  read.  That  explains,  in  a  way,  why  the  experts  rave  over  the  fine  shapes  of  letters; 
but  it  fails  to  explain  wherein  the  shapes  are  fine.  If  you  seek  to  go  further  with  the  in- 
quiry, theories  will  be  your  only  answer.  Here  is  a  theory  that  the  proponent  thinks 
may  have  sense  in  it:  Fine  type  letters  were,  in  the  first  place,  copies  of  fine  written  let- 
ters. Fine  written  letters  were  fine  because  they  were  produced  in  the  most  direct  and 
simple  way  by  a  tool  in  the  hands  of  a  person  expert  in  its  use,  by  a  person,  moreover, 
who  was  an  artist,  i.e.,  a  person  equipped  to  make  sound  judgments  about  lines,  curves, 
proportions,  etc.  The  artist  of  that  moment  when  printing  was  invented  who  furnished 
the  fine  written  patterns  for  type  was  (luckily  for  printing)  working  at  the  top  notch  of 
a  fine  tradition  of  calligraphy.  He  was  making  sound  judgments  about  lines  and  curves 
and  proportions  of  letters.  He  had  resurrected  an  ancient  distinguished  style  of  writ- 
ing and  had  added  to  it  the  quality  of  his  own  fine  taste.  His  letters  flowed  from  his  pen 

( /;(■->  /I. /Ill/  li-dilnl  I 

The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  letter  (if  a  true  artist 
made  it)  will  have,  besides  its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or 
stamped  on  paper  and  read.  That  explains,  in  a  way,  why  the  experts  rave  over  the  fine 
shapes  of  letters;  but  it  fails  to  explain  wherein  the  shapes  are  fine.  If  you  seek  to  go  further 

lOitc-I.clIri  lliilif) 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflffffiffl(^£,.:;'-'?!*t)1234567890 
abcdefghijklmnopqrstuvwxyzfxflffffiffl(S£,.:;'-'?.''\)1234567890 

TRUE-CUT  SMALL  i  .U'S,  M't-    lAL    NO    5 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ONE-LETTER   ITALIC,  SPE'IIAL  NO     5 

abcdefghijklmnopqrstuvwxyz 

M>:lil.v  Initn-matiun  :  IflA'llJ,   1  ..wcr  t.isf  .ilplialicl.  IJ'i  puiTits.   I'lKUrfs.  .IK.'IJ; 
ch.Tiiiii-l  iiKiK;i?ine.  Cmle  wnl.  JIMK. 


111.  ix-rind  ;inil  lliin  muhc.  .0.!4'..  Runs  in  'JO 


(     LINOTYPE"   ) 


285 


Twelve  Point  Cloister  Bold 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TER 
OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  TH 
How  Is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type? 
What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good 
design  is  always  practical  design.  And  what  they  see  in  a  good  type  design  is, 
partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has  a  "heft"  and  bal- 
ance in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair 
has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly  the  work  that  the 
chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of 
material  and  no  lack  of  strength.  And,  beyond  that,  the  chair  may  have  been 
made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and  curves  and  pro- 
portions: it  may  be,  actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of 
letters.  And  your  chair,  or  your  letter  (if  a  true  artist  made  it)  will  have,  besides 
its  good  looks,  a  suitability  to  the  wth  degree  to  be  sat  in,  or  stamped  on  paper 
and  read.  That  explains,  in  a  way,  why  the  experts  rave  over  the  fine  shapes  of 
letters;  but  it  fails  to  explain  wherein  the  shapes  are  fine.  If  you  seek  to  go  fur- 
ther with  the  inquiry,  theories  will  be  your  only  answer.  Here  is  a  theory  that  the 
proponent  thinks  may  have  sense  in  it:  Fine  type  letters  were,  in  the  first  place, 
copies  of  fine  written  letters.  Fine  written  letters  were  fine  because  they  were 
produced  in  the  most  direct  and  simple  way  by  a  tool  in  the  hands  of  a  person 

(t-vo  point  leaded) 

The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  letter  (if  a  true 
artist  made  it)  will  have,  besides  its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat 
in,  or  stamped  on  paper  and  read.  That  explains,  in  a  way,  why  the  experts  rave  over 
the  fine  shapes  of  letters;  but  it  fads  to  explain  wherein  the  shapes  are  fine.  If  you 

(One-Letter  Italic) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflffffiffl(^£,.:;'-'?!=S't)  1234567890 
abcdefghijklmnopqrstuvwxyzfiflifffiffl($£,.:;'-'?!'^'\)1234567890 

TRUE-CUT  SMALL  CAPS,  SPECIAL  NO.  5 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ONE-LETTER  ITALIC,  SPECIAL  NO.  S 

abcdefghijklmnopqrstuvwxyz 

Matrix  Information :  12A276.  Lower  case  alphabet,  138  points.  Figures,  .083;  comma,  period  and  thin  space.  .0-fI5.  Runs  in  90 
channel  magazine.  Code  word,  JINI. 


("LINOTYPE") 


286 


Fourteen  Point  Cloister  Bold 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE 
IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PAC 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant 
to  their  eyes?  Good  design  is  always  practical  design.  And  what  they 
see  in  a  good  type  design  is,  partly,  its  excellent  practical  fitness  to  per- 
form its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right 
for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts 
made  nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has 
to  do,  neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of 
material  and  no  lack  of  strength.  And,  beyond  that,  the  chair  may  have 
been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and 
curves  and  proportions:  it  may  be,  actually,  a  work  of  art.  The  same 
thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  letter  (if  a 
true  artist  made  it)  will  have,  besides  its  good  looks,  a  suitability  to  the 
nth  degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That  explains, 
in  a  way,  why  the  experts  rave  over  the  fine  shapes  of  letters;  but  it  fails 
to  explain  wherein  the  shapes  are  fine.  If  you  seek  to  go  further  with 
the  inquiry,  theories  will  be  your  only  answer.  Here  is  a  theory  that  the 
proponent  thinks  may  have  sense  in  it:  Fine  type  letters  were,  in  the 
first  place,  copies  of  fine  written  letters.  Fine  written  letters  were  fine 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant 

(fuv  puiiit  IcaJi'J) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ABCDEFGHUKLMNOPqRSTVVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflfrffiffl(^£,.:;'-'?!^t)  1234567890 

abcdefghijklmnopqrstuvwxyzfiflffffiffl($£,.:f-'?l'^)1234567890 

Matrix  Jnjonnation  :  \A/\\'^-\.  I.nwer  case  alphabet,  \S7  points.  Figures,  .0968;  comma,  period  and  thin  space.  .0484.  Runs  in  90 
channel  magazine.  Code  word,  JIOP, 


c 


287 


Eighteen  Point  Cloister  Bold 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of 
its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of 
printing  rave  over  a  specific  face  of  type?  What  do  they 
see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes? 
Good  design  is  always  practical  design.  And  what  they 
see  in  a  good  type  design  is,  partly,  its  excellent  practical 
fitness  to  perform  its  work.  It  has  a  "h  (^,.:;^-'?!fiflff ffiffl) 


tl-,i'0  J^aint  leaded) 


ABCDEFGHIJKLMNOPQRSTUVWXYZ&: 

abcdefghijklmnopqrstuvwxyz  1234567890 

Matrix  Information  :  18A243.  Lower  case  alphabet,  lOS  points.  Figure  1.  .0968:  2  to  0.  .1107.  Runs  in  90  channel  magazine. 
16  point  alignment.  Code  word,  JIPO. 

Twenty-Four  Point  Cloister  Bold 

HOW  IS  ONE  TO  ASSESS  AND  EVA 
How  is  one  to  assess  and  evaluate  a  face  of 
type  in  terms  of  its  esthetic  design?  Why  do 
the  pace-makers  in  the  art  of  printing  rave 
over  a  specific  face  of  typ  {^^.v^^-V.iA^^ffi) 


(three  point  leaded) 


ABCDEFGHIJKLMNO 

PQRSTUVWXYZ&  1234567890 

abcdefghijklmnopqrstuvwxyz 

Matrix  Information :  24A207.  Lower  case  alphabet,  255  points.  Figure  1,  .1245;  2  to  0,  .1522.  Runs  in  72  channel  magazine:  also 
lower  case  in  cap  channels  of  90  channel  magazine  with  caps  and  figures  in  34  channel  auxiliary  magazine.  22  point  alignment. 
Code  word,  JIQU. 

C     LINOTYPE^- ) 


288 


Thirty  Point  Cloister  Bold 

How  is  one  to  assess  and  evaluate  a 
type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  p  abcdef ghijklm 
nopqrstuvwxyz  (^,.:;'-'?!fiflffffiffl) 

ABCDEFGHIJKLMNOP 
QRSTUVWXYZ&:  1234567890 

Matrix  Information:  30A155.  Lower  case  alphabet.  313  points.  FiEure  1,  .1522;  2  to  0,  .1937.  Runs  in  Wide  72  channel  maK.i- 
zine;  also  lower  case  in  cap  channels  of  72  channel  magazine  with  caps  and  figures  in  Wide  34  channel  auxiliary  magazine. 
26  point  alignment.  Code  word.  JIRY. 

Thirty-Six  Point  Cloister  Bold 

How  is  one  to  assess  and  eval- 
uate a  type  face  in  terms  of  its 
esthetic  de  abcdefghijklmno 
pqrstuvwxyz(^,.:;'-'?!)  12345 

ABCDEFGHIJKLM 
NOPQRSTUVWXYZ& 

Matrix  Iitfiirmation  :  36AI37.  Lower  case  alphabet,  379  points.  Figure  1.  .1798 
?ine:  also  lower  case  in  cap  channels  of  72  channel  magazine  with  caps  and 
34  point  alignment.  Code  word.  ZELZU. 


C 


289 


A-P-L 

All-Purpose  Linotype  matrices  arc  also  available  in  18.  24.  SO  and  36  point  sices 

42  Point  Cloister  Bold 

(42A1017)  Lower  case  alphabet.  440  points.  Code  word.  ZAPNE 

How  can  one  evalua  abed 
efghijklmnopqrstuvwxy 
z  (^,.:;'-'?!fiflffffiffl)  1234 

ABCDEFGIJKLMN 
OPQRSTUVWXYZ& 

48  Point  Cloister  Bold 

(48A1017)  Lower  case  alphabet.  508  points.  Code  word.  ZAPOC 

How  can  one  as  abcde 
f  gh  j  klmopqr  s  tu  vwxy 
z(^,.:;^'?!fiflffffiffl)19 

ABCDEFGJKL 
MNORSTUVWXY 

A-P-L 


290 


^  -P-L 


60  Point  Cloister  Bold 

1 01 1/,  10 17)  l.uwtr  lasc  aliihabct.  6J7  p.iints.  Code  word.  Z.M'OJ 

How  is  one  to  as- 
sess a  type  face  in 
term  abcdef  ghikl 
mnopqrstuvwxyz 
(^:;^?!fiMffiffl)12 


(six  InniU  Icaili-d ) 


ABCDEFG 
HJKLMNORST 


UVWXYZ& 


I 


291 


A-P-L 


72  Point  Cloister  Bold 

17JA1017)  Lower  case  alphabet.  745  points.  Code  word,  ZAPOP 

How  may  t  abc 
defghjklmnop 

qrstuvwxyz  89 

(^:;^7!Mffiffl) 

ABCDEFG 

KLMNOPQR 
STUWXY 


A-P-L 


292 


Eighteen  Point  Cloister  Bold  Italic 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TY 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of 
its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of 
printing  rave  over  a  specific  face  of  type?  What  do  they 
see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes? 
Good  design  is  always  practical  design.  And  what  they  see 
in  a  good  type  design  is,  partly  its  excellent  practical  fit- 
ness to  perform  its  work.  It  has  a  ^lief  ($,'';^-'?'fiflfffjiffl) 


((;.■•,•  fii'l  lriut,-,i  I 


ABCDEFGHIJKLMNOPqRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzl234567890 

Matrix  Inlin-moluni  ■  IXA.M";.  I.iwer  case  alphahet.  l'«  points.  I'iKure  1.  .096.^:  J  t(.  0.  .111)7.  Kuiis  in  yn  clianncl  maga/inc. 
ir,  p.iint  ali.miiTieiit.  C.ilf  wot,l.  J  ISA. 

Twenty-Four  Point  Cloister  Bold  Italic 

HOW  IS  ONE  TO  ASSESS  AND  EVALU 
How  is  one  to  assess  and  evaluate  a  type  face 
in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rare  over 
a  specific  face  of  type?  What  do  they  see  in  it? 
Why  is  it  so  superlativel  ($.':f-'?!fiflfffjiffl) 

ABCDFGJKLMPQRUVWXYZ& 

abcdefghijklmnopqrstuvwxyz  1234567890 

Matrix  liifoiinalion :  24^209.  Ldwer  case  alphaliei,  2A^  pnitils.  FiKure  1.  .1245;  2  to  0.  .1522.  Runs  in  72  clianin 
lower  case  in  cap  chatmcls  of  90  ilianncl  nia«a/inf  with  taps  ;iiui  tJKures  in  34  cliaiiiicl  auxiliary  inaKa/inc.  22 
Code  word.  JITE. 

(      LINOTYPE     ) 


293 


Thirty  Point  Cloister  Bold  Italic 

How  is  one  to  assess  and  evaluate  a 
type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pa  abcdefghijklm 
nopqrstuvwxyz  ($^. -i^'^^'f^flffffiffl) 

ABCDEFGHIJKLMNOPq 
RSTUVWXYZ&  1234567890 

Matrix  Iijjonnatioii :  30A157.  Lower  case  alphabet,  301  points.  Figure  1.  .1522;  2  to  0.  .1937.  Runs  in  Wide  72  channel  maga- 
zine; also  lower  case  in  cap  channels  of  72  channel  magazine  with  caps  and  figures  in  Wide  34  channel  auxiliary  magazine. 
28  point  alignment.  Code  word.  JIVI. 

Thirty-Six  Point  Cloister  Bold  Italic 

How  is  one  to  assess  and  evalu- 
ate a  face  of  type  in  terms  of  its 
esthetic  design  ($,.:;'-'? Iffffiffl) 
abcdefghijklmnopqrstuvwxyz 

ABCDEFGHIJKLMNO 
PqRSTUVWXYZ^  12345 

Matrix  hifoimation :  36A139.  Lower  case  alphabet,  349  points.  Figure  1,  .1798;  2  to  0,  .2213.  Runs  in  Wide  72  channel  maga- 
zine; also  lower  case  in  cap  channels  of  72  channel  magazine  with  caps  and  figures  in  Wide  34  channel  auxiliary  magazine. 
34  point  alignment.  Code  word,  ZEMBU. 


(LINOTYPE"') 


294 


A]l-Purpt)si'  Liiuitypc  matrices  are  also  available  in  18,  24,  30  and  36  point  sizes 

42  Point  Cloister  Bold  Italic 

(■12A101K)  I.iiwfr  cast.-  aliilialiet.  3X6  points.  Code  word,  ZATMI 

How  can  one  evaluate  and 
assess  a  typeface  in  terms  of 
its  esthetic  design?  Why  do 
the  pace-makers  in  printing 
arts  rare  over  a  specific  face 
of  type?  What  do  they  see  in 
it?  Why  is  it  so  superlatively 
pi  abcdefghijklmnopqrstuv 
wxyz($f'i;^-^?^' 


(three  fnii'l  IrcuU-d) 


ABCDEFGHIJKLM 
NOPQRSTUVfFXYZ& 


295 


A-P-L 


48  Point  Cloister  Bold  Italic 

(4SAI01S)  Lower  case  alphabet.  44J  points.  Code  word.  ZATNO 


How  is  one  to  assess  and 
evaluate  a  face 
terms  of  esthetic 
Why  do  pace-make 
printing  arts  rave  over 
specific  face  of 
hijklmnopqrstuvw 
($,.r;.'?!mffiffl)12345 


(three  point  leaded) 


ABCDEFGHIJKLMN 
OPQRSTUVWXYZ 

A-P-L 


296 


Cloister  Wide  with  Cloister  Bold 

COMPARISON   OF   SIZES 

6  Point  Cloister  Wide  with  Cloister  Bold  (6A276)  Lower  case  alphabet,  90  points.  Figures,  .0553 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN? 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of 
printing  rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eye  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN? 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  art  1234 

8  Point  Cloister  Wide  with  Cloister  Bold  (8A374)  Lower  case  alphabet,  109  points.  Figures,  .0622 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHET 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-mak- 
ers in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHET 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-  1234 


10  Point  Cloister  Wide  with  Cloister  Bold  (10A306) 


Lower  case  alphabet,  126  points.  Figures,  .0692 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do 
the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  t  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Wh  1234 


12  Point  Cloister  Wide  with  Cloister  Bold  (12A2S0) 


Lower  case  alphabet,  138  points.  Figures.  .083 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TER 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TER 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  desig  1234 


14  Point  Cloister  Wide  with  Cloister  Bold  (14A158) 


Lower  case  alphabet,  157  points.  Figures,  .0968 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the  art  of  printing  rave  over  as  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthet  1234 


List  of  Characters  Included  in  Font 

ABCDEFGHIJKLMNOPQRSTUVWXYZ 
ABCDEFGHIJKLMNOPQRSTUVWXYZ 


12345 
12345 


V^ 


abcdefghijkhnnopqrstuvwxyz        67890 
abcdefghijklmnopqrstuvwxyz        67890 

?!(!)*"-—...  ^  &c£$ 

?  !  (  I  )  *"■—  .        tb&£^ 

(S)      %t1:§lI-[] 
@      %t1:§lI-[] 


Vi  'A  Va 


■4% 


Vs   Va   Vs   Vz  5/8   V4   Vs 


/ECE 
^CE 


ae  oe 
ae  oe 


fiflff  ffiffl 
fiflflfffiffl 


(LINOTYPE    0 


297 


Six  Point  Cloister  Wide  with  Cloister  Bold 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN? 
WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  OF  TYPE? 


How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of 
its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of 
printing  rave  over  a  specific  face  of  type?  What  do  they 
see  in  it?  Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design.  And  what 
they  see  in  a  good  type  design  is.  partly,  its  excellent 
practical  fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as  any 
good  tool  has.  Your  good  chair  has  all  of  its  parts  made 
nicely  to  the  right  size  to  do  exactly  the  work  that  the 
chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny" 
and  weak,  no  waste  of  material  and  no  lack  of  strength. 
And,  beyond  that,  the  chair  may  have  been  made  by  a 
man  who  worked  out  in  it  his  sense  of  fine  shapes  and 
curves  and  proportions:  it  may  be,  actually,  a  work  of 
art.  The  same  thing  holds  for  shapes  of  letters.  And  your 
chair,  or  your  letter  (if  a  true  artist  made  it)  will  have, 
besides  its  good  looks,  a  suitability  to  the  nth  degree  to 
be  sat  in,  or  stamped  on  paper  and  read.  That  explains, 
in  a  way,  why  the  experts  rave  over  the  fine  shapes  of  let- 
ters; but  it  fails  to  explain  wherein  the  shapes  are  fine.  If 
you  seek  to  go  further  with  the  inquiry,  theories  will  be 
your  only  answer.  Here  is  a  theory  that  the  proponent 
thinks  may  have  sense  in  it:  Fine  type  letters  were,  in  the 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of 
its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of 
(solid) 


How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of 
its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of 
printing  rave  over  a  specific  face  of  type?  What  do  they 
see  in  it?  Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design.  And  what 
they  see  in  a  good  type  design  is,  partly,  its  excellent 
practical  fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as  any 
good  tool  has.  Your  good  chair  has  all  of  its  parts  made 
nicely  to  the  right  size  to  do  exactly  the  work  that  the 
chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny" 
and  weak,  no  waste  of  material  and  no  lack  of  strength. 
And.  beyond  that,  the  chair  may  have  been  made  by  a 
man  who  worked  out  in  it  his  sense  of  fine  shapes  and 
curves  and  proportions:  it  may  be,  actually,  a  work  of 
art.  The  same  thing  holds  for  shapes  of  letters.  And  your 
chair,  or  your  letter  (if  a  true  artist  made  it)  will  have, 
besides  its  good  looks,  a  suitability  to  the  nth  degree  to 
be  sat  in,  or  stamped  on  paper  and  read.  That  explains, 
in  a  way,  why  the  experts  rave  over  the  fine  shapes  of  let- 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of 
its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of 
(one  point  leaded) 


ABCDEFGHITKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZa: 

abcdefghi  jkImnopqrstuvwxyzfiflffffifll(^£, .:;*-'?!*  t)  1234567890 
abcdefghijklmnopqrstuvwxyzfifltfffiffl(5£,.:;'-*?l*t)  1234567890 

Matrix  Information :  6A276.  Lower  case  alphabet,  90  points.  Figures.  .0553;  comma,  period  and  thin  space,  .0277.  Runs  in  90 
channel  magazine.  Code  word,  JEWU. 

Eight  Point  Cloister  Wide  with  Cloister  Bold 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHET 
DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A 
How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it 
so  superlatively  pleasant  to  their  eyes?  Good  de- 
sign is  always  practical  design.  And  what  they 
see  in  a  good  type  design  is,  partly,  its  excellent 
practical  fitness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right 
for  its  size,  as  any  good  tool  has.  Your  good 
chair  has  all  of  its  parts  made  nicely  to  the  right 
size  to  do  exactly  the  work  that  the  chair  has 
to  do,  neither  clumsy  and  thick,  nor  "skinny" 
and  weak,  no  waste  of  material  and  no  lack  of 
strength.  And,  beyond  that,  the  chair  may  have 
been  made  by  a  man  who  worked  out  in  it  his 
sense  of  fine  shapes  and  curves  and  proportions: 
it  may  be,  actually,  a  work  of  art.  The  same 
How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
(solid) 


How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it 
so  superlatively  pleasant  to  their  eyes?  Good  de- 
sign is  always  practical  design.  And  what  they 
see  in  a  good  type  design  is,  partly,  its  excellent 
practical  fitness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right 
for  its  size,  as  any  good  tool  has.  Your  good 
chair  has  all  of  its  parts  made  nicely  to  the  right 
size  to  do  exactly  the  work  that  the  chair  has 
to  do,  neither  clumsy  and  thick,  nor  "skinny" 
and  weak,  no  waste  of  material  and  no  lack  of 
strength.  And,  beyond  that,  the  chair  may  have 
been  made  by  a  man  who  worked  out  in  it  his 
How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 

( one  point  leaded) 


ABCDEFGHIJKLMNOPQRSTUVWXYZBi 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&: 

abcdefghijklmnopqrstuvwxyzfiflffffiffl($£,.:;'-'?!*t)  1234567890 
abcdef  ghi  jklmnopqrstuvwxyzfiflffffiffl  (^£,. :  ;'-'?!*  t )  1234567890 

Matrix  Information:  SA374.  Lower  case  alphabet,  109  points.  Figures.  .0622;  comma,  period  and  tliin  space.  .0311.  Runs  in  90 
channel  magazine.  Code  word.  JEXY. 


(LINOTYPE"  ) 


298 


Ten  Point  Cloister  Wide  with  Cloister  Bold 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF 
ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do 
the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they 
see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  prac- 
tical design.  And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent  practical 
fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for 
its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the 
right  size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor 
"skinny"  and  weak,  no  waste  of  material  and  no  lack  of  strength.  And,  beyond  that, 
the  chair  may  have  been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes 

How  Is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do 
the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they 

(t7t'o  point  Icadrd ) 

ABCDEFGHIJKLMNOPQRSTUVWXYZa: 
ABCDEFGHIJKLMNOPQRSTUVWXYZ8C 

abcdefghijklmnopqrstuvwxyzfiflffffifH(^£,.:;'-'?!*t)  1234567890 
abcdefghijklmnopqrstuvwxyzfiflf?ffiffl(^£,.  :;'-'?!*})  1234567890 

Matrix  Jnjorwatinu  :  ]nA3n6.  Lower  case  alphabet,  126  points.  Figures,  .0692:  comma,  period  and  thin  space,  .0,^-46.  Runs  in  90 
channel  magazine.  Code  word,  JEYX. 


Twelve  Point  Cloister  Wide  with  Cloister  Bold 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TER 
OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  TH 
How^  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type? 
What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good 
design  is  always  practical  design.  And  what  they  see  in  a  good  type  design  is, 
partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has  a  ''heft"  and  bal- 
ance in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type? 

(tzvo  Point  leaded) 

ABCDEFGHIJKLMNOPQRSTUVWXYZA 
ABCDEFGHIJKLMNOPQRSTUVWXYZa: 

abcdefghijklmnopqrstuvwxyzfiflffffiffl  (^£,.:;'-'?!*t)  1234567890 
abcdefghijklmnopqrstuvwxyzfiflffffiffl(^£,.:;'-'?!*t)  1234567890 

Matrix  luforuiatitm  :  IJA-'SO.  Ldwer  ca^e  alphabet,  138  points.  Figures,  .083;  comma,  period  and  thin  space.  .0415.  Runs  in  90 
tlianiicl  magazine.  Ccnie  word,  JL\L. 


L 


299 


Fourteen  Point  Cloister  Wide  with  Cloister  Bold 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE 
IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PAC 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant 
to  their  eyes?  Good  design  is  always  practical  design.  And  what  they 
see  in  a  good  type  design  is,  partly,  its  excellent  practical  fitness  to  per- 
form its  work.  It  has  a  ''heft"  and  balance  in  all  of  its  parts  just  right 
for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts 
made  nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has 
to  do,  neither  clumsy  and  thick,  nor  ''skinny"  and  weak,  no  waste  of 
material  and  no  lack  of  strength.  And,  beyond  that,  the  chair  may  have 
been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and 
curves  and  proportions:  it  may  be,  actually,  a  work  of  art.  The  same 
thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  letter  (if  a 
true  artist  made  it)  will  have,  besides  its  good  looks,  a  suitability  to  the 
nth  degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That  explains, 
in  a  way,  why  the  experts  rave  over  the  fine  shapes  of  letters;  but  it  fails 
to  explain  wherein  the  shapes  are  fine.  If  you  seek  to  go  further  with 
the  inquiry,  theories  will  be  your  only  answer.  Here  is  a  theory  that  the 
proponent  thinks  may  have  sense  in  it:  Fine  type  letters  were,  in  the 
first  place,  copies  of  fine  written  letters.  Fine  written  letters  were  fine 
because  they  were  produced  in  the  most  direct  and  simple  way  by  a  tool 
in  the  hands  of  a  person  expert  in  its  use,  by  a  person,  moreover,  who 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant 

(one  poitit  leaded) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ8«: 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflfFfiiffl(^£,.:;'-'?!*t)  1234567890 
abcdefghijkImnopqrstuvwxyzfiflffffiffl(^£,.:;V?!*t)  1234567890 

Matrix  Information:  34A158.  Lower  case  alphabet.  157  points.  Figures,  .0968;  comma,  period  and  thin  space.  .0484.  Runs  in  90 
channel  magazine.  Code  word,  JIAS. 


(r LINOTYPE"   ) 


300 


The 

CLOISTER  SERIES 

f- LINOTYPE^ 


Right:  Card  set  in  14  point  Cloister.  3  points  leaded;  M~>  and 
Cloister.   Decoration:    Border   Matrices.  6  point   No.   (i-40. 


id  .^(J  pnuit 

Cloister.  Decoration:  Border  Matrices.  6  point  No.  (i-40.  6  pnint 
No.  G-41.  12  point  No.  G-50  L  and  R.  12  point  No.  G-Sl  I.  and  K. 
and  6  point  Matrix  Slide  No.  1813a. 

Lower  Right:  Card  set  in  ]2  puInt  (Inisler  Caps,  letterspaced.  Dec- 
oration: 24  point  Border  .Matrices  Ni>s.  C-Jl  K  and  !-.  and  2  point 
Matrix  Slide  No.  404".-. 

Below:  Catalog  page  set  in  111  point  Cloister  leaded  one  point. 


^^ 


Rolland,  Hart  Crane,  Conrad  Aiken,  E.  E.  Cumml 
and  drawings  by  Picasso,  Modigliani,  Louis  Lozol 
George  Grosz. 

THE  FUGITIVE.  8  numbers,  1922-4.  John  Cro; 
Ransom,  Allen  Tate,  Joseph  Auslander,  Merrill 
Moore,  and  others.  "These  poets  acknowledge  no! 

mels  upon  the  independence  of  their  thought,  they! 

not  overpoweringly  academic,  they  are  in  tune  with 
the  times  in  the  fact  that  to  a  large  degree  they  are 
self-convicted  experimentalists."  Includes  a  key  to  the 
pseudonyms  used  by  "the  fugitives." 

THE  CHAPBOOK.  Numbers  1-39.  Edited  by  Har- 
old Monro.  It  is  of  particular  interest  because,  besides 
publishing  work  by  almost  all  of  the  significant  writers 
of  the  period,  Monro  took  as  keen  an  interest  in  pre- 
senting the  work  of  the  older  writers  who  were  influ- 
encing the  new  men,  and  these  numbers  contain  exam- 
ples of  the  English  i6th  and  17th  century  writers,  and 
some  of  the  Provencal  poetry,  which  had  so  much 
effect  on  Pound  and  his  group. 

THE  DOUBLE  DEALER.  9  numbers,  1923-4.  Pub- 
lished at  New  Orleans.  Contributions  by  A.  E.  Cop- 
pard,  William  Faulkner,  James  Rorty,  Sherwood  An- 
derson. 

THE  MEASURE,  A  JOURNAL  OF  POETRY. 
A  broken  run.  Numbers  1-5 1,  lacking  Numbers  6, 
22,  23,  38,  44,  46  and  47.  192 1-5.  The  board  of  editors 
was  made  up  of  Maxwell  Anderson,  Padraic  Colum, 

14 


HAWAII 


blessed  with  the  zest  of  autumn  and  the 
breath  of  spring,  beckons  you.  It  is  unique 
in  colorful  scenes,  perfect  weather,  and 
exhilarating  things  to  do.  Its  new  sights 
and  sports,  and  its  ancient  hospitality 
make  it  a  host  without  an  equal!  The  joys 
of  this  island  paradise  begin  when  you 
step  up  the  gangplank  of  the  new  Jordan 
Line  ships  to  California  and  the  South 
Seas.  There  is  a  wide  choice  of  First  Class 
and  Cabin  Class  accommodations  at  ex- 
ceedingly moderate  fares. 

JORDAN  LINE 


FROM  THE  GREAT  UNI- 
VERSAL STOREHOUSE 
EVERY  ARTIST  AFTER 
HIS  KIND  QUARRIES 
OUT    HIS    MATERIAL 

WALTER  CRANE 


^^e  302h^  CWi^^t 


WINDFALLS 

for  the  month  of  October 
with  a  particular  emphasis 
on  autumnal  delectahles 


face,  and  behold,  among  them  was  the  ape,  with  his  hands  full  of 
jewels  of  price,  which  he  threw  down  before  Abu  al-Muzaffar. 
The  Shaykh  marvelled  at  this  and  said,  'There  is  much  mystery  in 
this  monkey!'  Then  they  cast  off  and  sailed  till  they  came  to  a 
third  island,  called  the  Isle  of  the  Zunuj,''"  who  are  a  people  of 
the  blacks,  which  eat  the  flesh  of  the  sons  of  Adam.  When  the 
blacks  saw  them,  they  boarded  them  in  dug-outs''"  and,  taking  all 
in  the  vessel,  pinioned  them  and  carried  them  to  their  king,  who 
bade  slaughter  certain  of  the  merchants.  So  they  slaughtered  them 
by  cutting  their  throats  and  ate  their  flesh;  and  the  rest  of  the 
traders  passed  the  night  in  bonds  and  were  in  sore  concern.  But 
when  it  was  midnight,  the  ape  arose  and  going  up  to  Abu  al- 
Muzaffar,  loosed  his  bonds;  and,  as  the  others  saw  him  free,  they 
said,  'Allah  grant  our  deliverance  may  be  at  thy  hands,  O  Abu 
al-Muzaffar!'  But  he  replied,  'Know,  that  he  who  delivered  me, 
by  leave  of  Allah  Almighty,  was  none  other  than  this  monkey.'  " 
A  nd  Shabrazad  perceived  the  dawn  of  day  and  ceased  to  say 
her  permitted  say.  When  it  was  the  ^02nd  night,  she  said, 

reached  me,  O  auspicious  King,  that  Abu  al-Muzaffar 
d,"  'None  loosed  me,  by  leave  of  Allah  Almighty,  save 
y  and  I  buy  my  release  of  him  at  a  thousand  dinars!' 
n  the  merchants  rejoined,  'And  we  likewise,  each  and 
pay  him  a  thousand  dinars  if  he  release  us.'  With  this 
se  and  went  up  to  them  and  loosed  their  bonds  one  by 
e  had  freed  them  all,  when  they  made  for  the  vessel  and 
g  her,  found  all  safe  and  nothing  missing  from  her.  So 


CONSOMME  MADRILENE 
SALTED  CAVIAR  PEELED  SHRIMP 

ASSORTED  COCKTAIL  BISCUITS 
APRICOT  JAM  KIPPERED  HERRING 

KITCHENER  EGG  CUPS 
BOMBAY  DUCK  MANGO  CHUTNEY 

REMEMBER,  WE  ARE  RENOWNED  FOR 
ENGLISH  SPORTSWEAR  AND  CRAVATS 


PORTLEIGH  &  HART 

856  MADISON  AVENUE  at  6yth  Street 
NEW  YORK,  as  well  as  in  London,  s.  w. 


Above:  The  page  above  is  from  The  Limited  Edition  Club's  six  vol- 
ume edition  of  The  Book  of  the  Thousand  Nights  and  a  Night,  deco- 
rated by  Valenti  Angelo.  The  text  is  12  point  Cloister;  running  head 
is  in  Civilite. 

L(?/r-, Monthly  announcement  set  in  30  point  Cloister  Bold.  12.  14 
and  18  point  Cloister,  and  24  point  Cloister  Italic.  A-P-L.  Rules: 
2  point  Matrix  Slide  No.  404  and  6  point  Matrix  Slide  No.  270. 


^  ClD  CiD  cp  cp  cp  ClD  cp  ClD  cp  cp  cp  cp  ci:i  cp  cp  cp 


-e 


Linotype  De  Vinne 


(trade  LI  fki  DTYPE  "^"'^O 


MERGENTIIALER   LINOTYPE   COMPANY,    BROOKLYN,   NEW   YORK,    CIIUACO, 

SAN    FRANCISCO,   NEW   ORLEANS.   CANADIAN    LINOTYPE,   LIMITED.    TORONTO 

Representatives  in  the  Principal  Cities  of  the  World 


ub  c|d  c|d  cJd  c|d  cb  ct  ct  c|d  cb  cJd  c|d  c|d  c|d  cj^  cId  C^D  ^ 


Linotype 

BeVinne  comparison  of  sizes 


6  Point  De  Vinne  with  Italic  and  Small  Caps  (6A24)  Lower  case  alphabet.  93  points.  Figures,  .0553 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN? 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  1234 
HOW  IS  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  t  vbcd 

8  Point  De  Vinne  with  Italic  and  Small  Caps  (High.  8A18;  Low.  8A118)  Lower  case  alphabet.  109  points.  Figures,  .059 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace  1234 
HOW  IS  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  ?  Why  do  the  pac  vbcd 

9  Point  De  Vinne  with  Italic  and  Small  Caps  (9A4)  Lower  case  alphabet.  117  points.  Figures,  .063 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ES 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  th  1234 
HOW  IS  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  t  vbcd 

10  Point  De  Vinne  \\'ith  Italic  and  Small  Caps  (10A--+)  Lower  case  alphabet.  131  points.  Figures,  .070 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  ?  W  1234 
HOW  IS  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  f  vbcd 

11  Point  De  Vinne  with  Italic  and  Small  Caps  (11A14)  Lower  case  alphabet.  149  points.  Figures.  .077 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TE 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  1234 
HOW  IS  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthet  vbcd 

12  Point  De  Vinne  with  Italic  and  Small  Caps  (I2A14)  Lower  case  alphabet,  163  points.  Figures,  .084 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  est  1234 
HOW  IS  one  to  assess  and  c  vahiate  a  type  face  in  terms  of  its  e  vbcd 

14  Point  De  Vinne  with  Italic  and  Small  Caps  {14A84)  Lower  case  alphabet.  189  points.  Figures.  .0968 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TY 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  o  1234 
HOW  IS  on  e  to  assess  an  d  evaluate  a  type  face  in  term  vbcd 


C°  LINOTYPE"") 

LIST  OF  CHARACTERS 

in  Two-Letter  Fonts  ivith  Italic  and  Small  Caps 

ABCDEFGHIJKLMNOPQRSTUVWXYZ 
ABCDEFGIIIJKLMNOPQBSTUVWXYZ 

ABCDEFGHIJKLMNOPQRSTUVWXYZ 

12345         abcdefc'liijklmnopqrstuvwxyz         67890 
VBCDE         abcdefghijklmnopqrstuvwxyz         fgrtj 
:;!!(!)*''-  —  ^GElb&£$...  fiflffffiffljEoe 

S  ;  f  /  A  I  Q  O  '    '  -  —  .^  (E  ;&  N  £  P  L  .    .  .  ^  Y  #•  W  M  K  H 

12345         Z&  :()flffiffl$ffice         67890 
12345  V  S  :  (  )  flffiffl$(Ea}  67890 

VS  1/4  %  1/2  %  %  %  X  Z  &  iE  (E  @      %  t  H  U  -  [   ] 


— (..cLINDTYPE""') 

ITALIC  LOGOTYPES 

(Supplied  on  Special  Order) 

FA  PA  TA  VA  WA  YA  Va  Ve  Yo  Wa  We  Wo  Ya  Ye  Yo 


302 


SIX  •  5  •  1*01  NT 


now  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OP  ITS  ESTHETIC  DESKiV 
WHY  DO  THE  PACE  MAKEliS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  OF  TYPE? 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYI'E  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN  2  WHY  DO  THE  PACE-MAK 


How  IS  one  to  assess  and  evaluate  a  type  face  in  terms 
of  its  t'.sthc'tic  design?  Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  of  tyjie  ?  Wliat 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant 
to  their  eyes?  Onod  drsiijti  is  oltrai/s  pftti-lintl  flt'sn/n. 
And  what  they  see  in  a  good  type  design  is,  partly,  its 
excellent  i>ractical  fitness  to  i)erform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  .just  riglit  for  its 
size,  as  any  good  tool  has.  Your  good  chair  has  all  of 
its  i)arts  made  nicely  to  the  right  size  to  do  exactly  the 
work  that  the  chair  has  to  do,  neither  clumsy  and 
thick,  nor  "skinny"  and  weak,  no  waste  of  material 
and  no  lack  of  strength.  And,  beyond  tliat,  the  chair 
may  have  been  made  b.v  a  man  who  worked  out  in  it 
his  sense  of  fine  shajies  and  curves  and  proiiortions  ;  it 
may  be,  actu.iUy,  a  work  of  art.  The  same  thing  holils 
for  shapes  ot  letters.  And  your  chair,  or  your  letter  (if 
a  true  artist  made  it)  will  have,  besides  its  good  looks, 
a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped 
on  pajjer  and  read.  That  explains,  in  a  way,  why  the 
experts  rave  over  the  fine  shapes  of  letters;  but  it  fails 
to  exiil.iin  wherein  the  shapes  are  fine.  If  you  seek  to 
go  further  with  the  inquiry,  theories  will  be  your  only 
answer.    Here   is   a   theory   that   the   proponent   thinks 

How  is  one  to  assess  and  evaluate  a  type  fare  in  terms 

of  its  esthetic  desiijn?  Whii  dn  the  i>uce-niakers  in  the 

(solid) 


How  IS  one  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in  the 
art  of  i)rinting  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant 
to  their  eyes?  Good  desiyn  is  ahriii/s  jinirl iritl  desii/ii. 
And  what  they  see  in  a  good  type  design  is,  jjartly,  its 
excellent  practical  fitness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good  chair  has  all  of 
its  parts  made  nicely  to  the  right  size  to  do  exactly  the 
work  that  the  chair  has  to  do,  neither  clumsy  and 
thick,  nor  "skinny"  and  weak,  no  waste  of  material 
and  no  lack  of  strength.  And,  beyond  that,  the  chair 
may  have  been  made  by  a  man  who  worked  out  in  it 
his  sense  of  fine  shapes  and  curves  and  proportions:  it 
may  be,  actually,  a  work  of  art.  The  same  thing  holds 
for  shapes  of  letters.  And  your  chair,  or  your  letter  (if 
a  true  artist  made  it)  will  have,  besides  its  good  looks, 
a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamjied 
on  paper  and  read.  That  explains,  in  a  way,  why  the 

now  is  one  to  assess  and  evaluate  a  type  fare  in  terms 
of  its  esthetic  design?  Why  do  the  pacemakers  in  the 

(one  point  leaded) 


Matrix  Informal h 
JOEV. 


ABCDEFGHIJKLMNOPQRSTUVWXY'Z& 
ABCDEFGniJKLMNOPQRSTUVWXYZd- 

ABCDEPl-iIIIJKLMNOPQR.STi:VWXYZ& 
abcdefghi.jklmnopqrstuvwxvzfiflffffiffl  12:!4.')G7890  ($,£,.  :  ;'-'?!*t) 
abode fi/hijklmnopqrstnrirxuzfiflffffiffl  li345G7890($li,. :  ;'■"!!    t-) 

J-4.  Length  ni  lower  case  alphabet,  93  points.  Figures.  .0,SSJ.  Will  run  in  ''0  tliannel  layout.  Code  word. 


Liiiotfjpe 
DeViuue 


-("°  LINOTYPE"  "> 


EIGHT  •  3  •  POINT 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC 
DESIGN!  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SP 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE 


How  IS  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  type?  Wliiit  do  they  see  in  it?  Why  is 
it  so  superlatively  pleasant  to  their  eyes?  Good 
design  is  always  practical  design.  And  what 
they  see  in  a  good  type  design  is,  partly,  its  ex- 
cellent practical  fitness  to  ])erform  its  work.  It 
has  a  "heft"  and  balance  in  all  of  its  parts 
just  right  for  its  si/.e,  as  any  good  tool  has. 
Your  good  chair  has  all  of  its  parts  made  nicely 
to  the  right  size  to  do  exactly  the  work  that  the 
chair  has  to  do,  neither  clumsy  and  thick,  nor 
"skinny"  and  weak,  no  waste  of  material  and 
no  lack  of  strength.  And,  beyond  that,  the  chair 

How  is  one  to  assess  and  cvahiate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 


(solid) 

ABCDEFGH1.TKLMN0PQRSTUVWXYZ& 
ABCDEFGIlIJKLMNOI'iJIiSTUVWXyZc'i- 

ABCDEFGHIJKLMNOPQRSTIIVWXYZ& 

abcdefghiiklmnopqrstnvwxvzfiflfffiiftl  r234,5(i7890($£,. :  ;' 
ahedefgliijIchnnopqrstuvwxy-fiMffiffl  1334567 890 ($C,. :  ;' 


How  IS  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Wlij'  is 
it  so  superlatively  pleasant  to  their  eyes?  Good 
design  is  always  practical  design.  And  what 
they  see  in  a  good  type  design  is,  partly,  its  ex- 
cellent practical  fitness  to  perform  its  work.  It 
has  a  ' '  heft ' '  and  balance  in  all  of  its  parts 
just  right  for  its  size,  as  any  good  tool  has. 
Your  good  chair  has  all  of  its  parts  made  nicely 
to  the  right  size  to  do  exactly  the  work  that  the 
chair  has  to  do,  neither  clumsy  and  thick,  nor 

How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 

(onc  point  loaded) 


'?!* 
'?  I 


Matrix  Inloruiation     Hii;h  .\lignmcnt.  8A18:  Low  Alignment.  8AI18.  Length  of  lower  c.isr  alphaliet,  1(»  points.  Figures.  .059. 
Will  run  in  90  channel  layout.  Code  words.  High  Alignment,  JOIP;  Low  Alignment,  JOM.-\. 


303 


Linotype 

DeVinne  nine  ■  9  •  point 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ES 
DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OV 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN  ?  WHY  DO 

How  IS  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type  ?  What  do  they  see  in  it  ? 
Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  practical  design.  And 
what  they  see  in  a  good  type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its 
■work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has. 
Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly  the  work  that 
the  chair  has  to  do,  neither  clumsy  and  thick,  nor  ".skinny"  and  weak,  no  waste  of  material 
and  no  lack  of  strength.  And,  beyond  that,  the  chair  may  have  been  made  by  a  man  who 
worked  out  in  it  his  sense  of  fine  shapes  and  curves  and  proportions :  it  may  be,  actually,  a 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in  itf 

(two  poiul  leaded) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZd- 

ABCDEFGHIJ  KLM  N  OPQRSTUV  WXYZ& 

abcdefghijklmnopqrstuvwxvzfiflffffiltl  1234567890 (.$£,. : ;'-'?  !*t) 
ubcdefghi jklmnopqrstuvwxy- fifljfffif/l  1234567890($£,. ■■;'-'? ■'  t) 

Matrix  1  ii](fniuitinn  :  9A-*.  Length  of  lower  case  alphabet.  117  points.  Figures,  .063.  Will  run  in  90  channel  layout.  Code  word. 


(  nc LINOTYPE"  ') 

TEN  •  10  '  POINT 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF 
ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF 

now  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TEKMS  OF  ITS  ESTHETIC  DESIGN  ?  W 

How  IS  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  ?  Why 
do  the  pace-makers  in  the  art  of  printing'  rave  over  a  specific  face  of  type  ?  What  do 
tliey  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  al- 
ways practical  design.  And  what  they  see  in  a  good  type  design  is,  partly,  its  excel- 
lent practical  fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its 
parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts 
made  nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither 
clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of  material  and  no  lack  of 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do 

(two  point  leaded) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTVVWXYZ& 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflffffiffl  1234567890 ($,£., :;'-'?  !*t ) 
abcdefghijklm7iopqrstuvivxyzfiflffffiffil234567890($e,.:;'-'f!  t) 

Matrix  ]}jUi)  niatjon  ■  lOA-4.  Length  oi  lower  case  alphabet.  131  puints.  Figures.  .070.  Will  run  in  '.;[*  channel  layout.  Code  word, 
JONE. 


304 


Linotype 
ELEVEN  -ll-  POINT  DeViuue 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TE 
OF  ITS  ESTHETIC  DESIGN!  WHY  DO  THE  PACE-MAKERS  IN 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DES 

How  IS  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  de- 
sign! Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific 
face  of  type !  What  do  they  see  in  it !  Why  is  it  so  superhitively  pleasant  to 
their  eyes!  Gofx]  dcsigii,  is  ahva/js  practical  design.  And  what  they  see  in 
a  g'ood  type  design  is,  partly,  its  excellent  practical  fitness  to  perform 
its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely 
to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither 
clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of  material  and  no 
lack  of  strength.  And,  beyond  that,  the  chair  may  have  been  made  by  a 
man  who  worked  out  in  it  his  sense  of  fine  shapes  and  curves  and  pro})()r- 
tions :  it  may  be,  actually,  a  work  of  art.  The  same  thing  holds  for  shapes 
of  letters.  And  your  chair,  or  your  letter  (if  a  true  artist  made  it)  will 
have,  besides  its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or 
stamped  on  paper  and  read.  That  explains,  in  a  way,  why  the  experts  rave 
over  the  fine  shapes  of  letters ;  but  it  fails  to  explain  wherein  the  shapes 
are  fine.  If  you  seek  to  go  further  with  the  inquiry,  theories  will  be  your 
only  answer.  Here  is  a  theory  that  the  proponent  thinks  may  have  sense 
in  it :  Fine  type  letters  were,  in  the  first  place,  copies  of  fine  written  let- 
ters. Fine  written  letters  w^ere  fine  because  they  were  produced  in  the 
most  direct  and  simple  way  by  a  tool  in  the  hands  of  a  person  expert  in  its 
use,  by  a  person,  moreover,  who  was  an  artist  {i.e.,  a  person  equipped  to 
make  sound  judgments  about  lines,  curves,  proportions,  etc.).  The  artist 
of  that  moment  wdien  printing  was  invented  who  furnished  the  fine  writ- 
ten patterns  for  type  was  (luckily  for  printing)  working  at  the  top  notch 
of  a  fine  tradition  of  calligraphy.  He  was  making  sound  judgments  about 
lines  and  curves  and  proportions  of  letters.  He  had  resurrected  an  ancient 
distinguished  style  of  writing  and  had  added  to  it  the  quality  of  his 

Hoiv  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific 
face  of  type?  WJiat  do  they  see  in  it?  WJiy  is  it  so  superlatively  ph'asaiit  to 

ABCDEFGIIIJKLMNOPQRSTUVWXYZ& 
ABCDEFGIIIJKLMNOPQRSTUVWXYZd': 

ABCDEFGHIJKLMNOPQRSTUVWXYZ«t 

abcdefghijklmnopqrstuvwxyzfiflffffiffl  1234567890 ($£,. :;'-'!  !*t) 
ahcdefghijUmnopqrstuvwxyzfiflffffifJi  1234567890($£.. : ;'-'?!  t) 

Matrix  Information  :  llAH.  LeiiKtIi  <>f  li)wer  case  .Tlphabet.  M9  ixiiiits.  Figures.  .077.  Will  run  in  00  clKinnel  layout.  C.nle  word, 
JOOX. 


305 


Linotype 

DeVmne  twelve  •  12  •  point 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE 
IN  TERMS  OF  ITS  ESTHETIC  DESIGN  ?  WHY  DO  THE  PA 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTH 

How  IS  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic 
design  ?  Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a 
specific  face  of  type  ?  What  do  they  see  in  it  ?  Why  is  it  so  superla- 
tively pleasant  to  their  eyes  1  Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent  prac- 
tical fitness  to  perform  its  work.  It  has  a ' '  heft ' '  and  balance  in  all  of 
its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair 
has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly  the  work 
that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and 
weak,  no  waste  of  material  and  no  lack  of  strength.  And,  beyond 
that,  the  chair  may  have  been  made  l)y  a  man  who  worked  out  in  it  his 
sense  of  fine  shapes  and  curves  and  proportions :  it  may  be,  actually, 
a  work  of  art.  The  same  thing  holds  for  shapes  of  letters.  And  your 
chair,  or  your  letter  (if  a  true  artist  made  it)  will  have,  besides  its 
good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped  on 
IDaper  and  read.  That  explains,  in  a  way,  why  the  experts  rave  over 
the  fine  shapes  of  letters ;  but  it  fails  to  explain  wherein  the  shapes 
are  fine.  If  you  seek  to  go  further  with  the  inquiry,  theories  will  be 
your  only  answer.  Here  is  a  theory  that  the  proponent  thinks  may 
have  sense  in  it :  Fine  type  letters  were,  in  the  first  place,  copies  of 
fine  written  letters.  Fine  written  letters  were  fine  because  they  were 
produced  in  the  most  direct  and  simple  way  by  a  tool  in  the  hands  of 
a  person  expert  in  its  use,  by  a  person,  moreover,  who  was  an  art- 
ist (i.e.,  a  person  equipped  to  make  sound  judgments  about  lines, 
curves,  proportions,  etc.).  The  artist  of  that  moment  when  printing 

How  is  one  to  assess  and  evaluate  a,  type  face  in  terms  of  its  esthetic 
design?  Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a 
specific  face  of  typef  What  do  they  see  in  itf  Why  is  it  so  superla- 

(two  point  leaded) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQBSTUVWXYZd 

ABCDEFGHIJKLMNOPQRSTirVWXYZ& 

abcdefghijkhnnopqrstuvwxyzfiflffffiffl  1234567890  ($£,. :;'-"?  !*t) 
al)cdefgMjklmnopqrstuvwxyzfifffffiffl  1234567 890 ($^,.  :;'-"V.    f) 

Matrix  Iiilorination :  I2A14.  Length  of  lower  case  alphabet,  163  points.  Figures,  .084.  Will  run  in  90  channel  layout.  Code  word, 
JOPI. 


306 


Linotype 

FOURTEEN  •  14  •  POINT  j)^  y-^^^^^ 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TY 
FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  W 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF 

How  IS  one  to  assess  and  evaluate  a  type  face  in  terms  of 
its  esthetic  design  ?  Why  do  the  pace-makers  in  the  art  of 
printing  rave  over  a  specific  face  of  type  ?  What  do  they  see 
in  it  ?  Wliy  is  it  so  superlatively  pleasant  to  their  eyes  ?  Good 
design  is  always  practical  design.  And  what  they  see  in  a 
good  type  design  is,  })artly,  its  excellent  j^ractical  fitness  to 
perform  its  work.  It  has  a  "heft "and  balance  in  all  of  its 
parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good 
chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do 
exactly  the  work  that  the  chair  has  to  do,  neither  clumsy 
and  thick,  nor  "skimiy"  and  weak,  no  waste  of  material 
and  no  lack  of  strength.  And,  beyond  that,  the  chair  may 
have  been  made  by  a  man  who  worked  out  in  it  his  sense  of 
fine  shapes  and  curves  and  proportions :  it  may  be,  actually, 
a  work  of  art.  The  same  thing  holds  for  shapes  of  letters. 
And  your  chair,  or  your  letter  (if  a  true  artist  made  it)  will 
have,  besides  its  good  looks,  a  suitability  to  the  »th  degree 
to  be  sat  in,  or  stamped  on  paper  and  read.  That  explains, 
in  a  way,  why  the  experts  rave  over  the  fine  sliai:>es  of  let- 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of 
its  esthetic  design?  Why  do  the  pace-maJiers  in  the  art  of 
printing  rave  over  a  sped  j\e  face  of  type?  What  do  they  see 

(three  /•nil!/  leaded) 

ABCDEFGIIIJKLMNOPQRSTUVWXYZ& 
ABCJ)EFGIIIJKLMNOFQBSTUVWXYZc& 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflffffiffll2345(f £,. :;'-'?  l^f  ) 
ahcdefghijMmnopqrstuvwa'yzfMffifffl3S4ri(S£,.: :'-'?!  f) 

Matrix  Uxfen-matinn  :  MAS-I.  I.enKlli  I't  lower  case  alplialicl,  1H9  points.  FiKures.  .W)C».  Will  run  in  90  iliaimel  layout,  ("ode 
word.  JOQO. 


307 


g  1  33  Cp  Cp  Cp  Cp  C|3  Cp  CJD  Cp  Cp  Cp  <^3  Cp  Cp  CjJ  Cp  Cp  Cp  Cp  Cp  C(D  Cp  Cp  CjO  Cp  CJD  Cp  Oj  Cp  Cp  Cp  CJ3  C(D  CJO  Cjj  Cj3  Cp  C^ 


De  Vinne  ivith  Combinations 


ANTIQUE  NO.  3  in  6,  8,  9,  10, 11,  12,  and  14  point 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic 
design?  Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a 
specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superla- 
tively pleasant  to  their  eyes?  Good  design  is  always  practical  de- 
sign. And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent 
practical  fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in 
all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good 


ffitw  t">'"t  leaded) 


6- 

e- 

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B- 
9- 
S- 
9- 
S- 
8- 

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8- 

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s- 
s- 
s- 
g- 

s- 
e- 
e- 
s- 
e- 

8- 

s- 
a- 

fi- 

9- 
9- 
9- 
9- 
9- 
9- 
9- 

£u 

9- 
9- 
9- 
9- 
9- 
9- 
9- 
9- 
9- 
9- 
9- 
9- 
9- 
9- 
9- 
9- 
9- 
9- 
9- 
9- 
9- 
9- 
8- 
9- 
9- 
9- 
9- 
9- 
9- 
8- 
6- 
8- 
8- 
9- 
9- 
9- 
8- 
9- 
9- 
8- 
9- 
9- 
9- 
9- 
8- 
9- 
9- 
9- 
9- 
8- 
8- 
g. 

9- 
9- 
9- 
9- 
9- 
9- 
9- 
9- 
6- 
9- 
8- 
8- 

ft3cfcctocfccfccfccfcctDcbcfcc{Dcfc<:fccfocfccfccfcc)DcfccfccfcctDctDiicfccbctDct3cfccb<^ct:>cfcc^ 


TITLE  NO.  1  in  8, 10,  12,  and  14  point 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic 
design?  Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a 
specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superla- 
tively pleasant  to  their  eyes?  Good  design  is  always  practical  de- 
sign. And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent 
practical  fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in 
all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good 


(tzvo  poiiit  leaded) 


ANTIQUE  NO.  1  in  6  point 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to 
their  eyes?  Good  design  is  always  practical  design.  And 
what  they  see  in  a  good  type  design  is,  partly,  its  ex- 
cellent practical  fitness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good  chair  has  all  of 
its  parts  made  nicely  to  the  right  size  to  do  exactly  the 
work  that  the  chair  has  to  do,  neither  clumsy  and  thick, 
nor  "skinny"  and  weak,  no  waste  of  material  and  no 
lack  of  strength.  And,  beyond  that,  the  chair  mr-y  have 

f  one  poi 


CENTURY  BOLD  in  8  poin,t 

How  is  one  to  assess  and  evaluate  a  type  face 
in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  a 
specific  face  of  type?  What  do  they  see  in  it? 
Wliy  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design  is, 
partly,  its  excellent  practical  fitness  to  per- 
form its  work.  It  has  a  "heft"  and  balance  in 
all  of  its  parts  just  right  for  its  size,  as  any 
good  tool  has.  Your  good  chair  has  all  of  its 


been  made  by  a  man  who  worked  out  in  it  his  sense  of 
fine  shapes  and  curves  and  proportions:  it  may  be,  ac- 
tually, a  work  of  art.  The  same  thing  holds  for  shapes 
of  letters.  And  your  chair,  or  your  letter  (if  a  true  art- 
ist made  it)  will  have,  besides  its  good  looks,  a  suita- 
bility to  the  nth  degree  to  be  sat  in,  or  stamped  on 
paper  and  read.  That  explains,  in  a  way,  why  the  ex- 
perts rave  over  the  fine  shapes  of  letters;  but  it  fails 
to  explain  wherein  the  shapes  are  fine.  If  you  seek  to  go 
further  with  the  inquiry,  theories  will  be  your  only  an- 
swer. Here  is  a  theory  that  the  proponent  thinks  may 
have  sense  in  it:  Fine  type  letters  were,  in  the  first 
place,  copies  of  fine  written  letters.  Fine  written  letters 
1/  leaded) 


GOTHIC  NO.  4  with  9  point 
How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  type?  What  do 
they  see  in  it?  Why  is  it  so  superlatively 

pleasant  to  their  eyes?  Good  design  is  al- 
ways practical  design.  And  what  they  see 
in  a  good  type  design  is,  partly,  it  excellent 

(clcvrn  point  alignment,  cast  an  eleven  point  body) 


&fo& 


Linotype  Electra  is  an  original  face  designed  expressly  for  Linotype 
by  W.  A.  Dwiggins,  the  eminent  American  artist  and  illustrator,  who  also 
designed  the  Linotype  Metro  Series.  The  type,  which  falls  into  the  "mod- 
ern' family  of  type  styles,  is  not  based  upon  any  traditional  model  and  is  not 
an  attempt  to  revive  or  reconstruct  any  historic  type.  Because  of  its  inherent 
charm  of  design,  and  because  it  was  drawn  to  avoid  the  extreme  contrast  of 
thick  and  thin  elements  that  mark  most  modern  faces,  Electra  provides  a  new 
type-texture  for  book  and  advertising  composition.  Electra  Italic,  reallv  an 
oblique  roman—and  the  Erst  to  he  made  available  for  machine  composition 
in  America— is  so  readable  a  letter,  that  entire  texts  mav  readilv  he  set  in  it. 


MERGENTHALER  LINOTYPE  COMPANY,  BrooUyn,  N.Y 

Chicago,  San  Francisco,  New  Orleans.  Canadian  Linotype,  Limited,  Toronto 

Representatives  in  the  Principal  Cities  of  the  World 


^^    ELECTRA    e-s^' 

8  Point  Electra  with  Italic  and  Small  Caps  (8A484)  Lower  case  alphabet,  104  points.  Figures.  .0622 

COM  PARI  SON      HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHET 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-m  1234 
OF  SIZES      HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  oi  its  esthetic  design?  Why  do  the  pac  vbcd 

10  Point  Electra  with  Italic  and  Small  Caps  (10A422)  Lower  case  alphabet,  125  points.  Figures,  .0692 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Whv  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  vbcd 

11  Point  Electra  with  Italic  and  Small  Caps  (11A124)  Lower  case  alplial)et,  13?  points.  Figures,  .0761 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERM 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  de  vbcd 

12  Point  Electra  with  Italic  and  Small  Caps  (12A384)  Lower  case  alphabet,  142  points.  Figures,  .083 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TE 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  desi  1 2  34 
HOW  IS  ONE  to  assess  and  evaluate  a  tvpe  face  in  terms  oi  its  estheti  vbcd 

14  Point  Electra  with  Italic  and  Small  Caps  (14A216)  Lower  case  alphabet,  160  points.  Figures,  .0968 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FAG 

I  low  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esth  1 2  34 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  it  vbcd 


-(     LmOTYPE"   > 


LIST   OF   CHARACTERS    IN   TWO-LETTER    FONTS 
WITH    ITALIC   AND   SMALL  CAPS 

ABCDEFGHIJKLMNOPORSTUVWXYZ 
ABCDEFGHIjKLMNOPQRSTUVWXYZ 

ABCDEFGHI J  JKLMMNOPQRSTUVWXYZ 

12345       abcdefghijklmnopqrstuvwxyz       67890 
VBCDE       abcdefghi/Umnopqrstuvwxyz       fgrtj 

,.:;?!(!)   *"--yECEtb&£$...  fiflfffEflfl 

,.s;?/aiqo''  —  Ai,  CE  Tb  N  £pi.       .  .  .  By  ff  w  m 

12345       Z&:()flfhffl$«oe       67890 
i2^4S       v&:()BffifR$8eoe      6y8go 

'^     M[  ~  [  ]    CV    H  J  K  M  X  Z  &  /E  CE    (rt)    %  i  t    i^^' 
TWO-LETTER    LOGOTYPES 

Ta  Te  To  Tr  Tu  Tw  Tv  Va  Vc  Vo  Wa  We  Wo  Wr  Ya  Ye  Yo  E  P  T  V  W  Y 
Ta  Te  To  Tr  Tu  Tw  Ty  Va  Ve  Vo  Wa  We  Wo  Wr  Ya  Ye  YoEP.TV  W  Y 

ONE-LETTER     ITALIC    LOGOTYPES 

FA  PA  TA  VA  WA  YA  Tli  Wh 


310 


^-j    ELECTRA    '>• 

now  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTIIET  8  POINT 
DESIGN?  WHY  DO  11  IE  PACE-MAKERS  IN  II IE  ART  OF  PRINTING  RAVE  OVER  A 
How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  tlie  pacemakers 
in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  sec  in  it?  Why  is  it  so  superla- 
tively pleasant  to  their  eyes?  Good  design  is  a/ua\'s  practical  design.  And  what  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of 
its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to 
the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny" 
and  weak,  no  waste  of  material  and  no  lack  of  strength.  And,  beyond  that,  the  chair  may  have  been 
made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and  curves  and  proportions:  it  may  be, 
actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  letter  (if  a 
true  artist  made  it)  will  have,  besides  its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or 
stamped  on  paper  and  read.  That  explains,  in  a  way,  why  the  experts  rave  over  the  fine  shapes  of  let- 
ters; but  it  fails  to  explain  wherein  the  shapes  are  fine.  If  you  seek  to  go  further  with  the  inquiry,  the- 
ories will  be  your  only  answer.  Here  is  a  theory  that  the  proponent  thinks  may  have  sense  in  it:  Fine 
type  letters  were,  in  the  first  place,  copies  of  fine  written  letters.  Fine  written  letters  were  fine  because 
they  were  produced  in  the  most  direct  and  simple  way  by  a  tool  in  the  hands  of  a  person  expert  in  its 
use,  by  a  person,  moreover,  who  was  an  artist,  i.e.,  a  person  equipped  to  make  sound  judgments  about 
lines,  curves,  proportions,  etc.  The  artist  of  that  moment  when  printing  was  invented  who  furnished 
the  fine  written  patterns  for  type  was  (luckily  for  printing)  working  at  the  top  notch  of  a  fine  tradition 
of  calligraphy.  He  was  making  sound  judgments  about  lines  and  curves  and  proportions  of  letters.  He 
had  resurrected  an  ancient  distinguished  style  of  writing  and  had  added  to  it  the  quality  of  his  own  fine 
taste.  His  letters  flowed  from  his  pen  easily  and  simply,  without  any  tricks  or  affectations  or  extraneous 
embellishments.  He  was  simple  enough  and  artist  enough  to  let  the  implement  itself  (and  his  facile 
hand)  shape  the  product.  The  fine  qualities  of  this  artist's  letter-forms  were  carried  over  into  the  metal 

How  is  one  to  assess  and  evaluate  a  t}pe  face  in  terms  of  its  esthetic  design?  Wliy  do  the  pace-makers 
in  the  ait  oi  printing  rave  over  a  specific  face  of  t}pe?  Wlmt  do  they  see  in  it?  \T^iy  is  it  so  superJa- 
tive7\'  pleasant  to  their  eyes?  Good  design  is  always  practical  design.  And  what  tJicy  see  in  a  good  t\pe 
design  is,  paith,  its  excellent  practical  fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of 
its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair  has  aJJ  of  its  parts  made  nicely  to 
the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny" 
and  weak,  no  waste  of  material  and  no  lack  of  strength.  And,  beyond  that,  the  chair  may  have  been 
made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and  curves  and  proportions:  it  ma\'  be, 
actuaJJy,  a  work  of  art.  The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  letter  (if  a 
true  artist  made  it)  will  have,  besides  its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or 
stamped  on  paper  and  read.  That  explains,  in  a  way,  why  the  experts  rave  over  the  fine  shapes  of  let- 
ters; hut  it  fails  to  explain  wherein  the  shapes  are  fine.  If  you  seek  to  go  further  with  the  inquiry,  the- 
ories will  be  your  ouh  answer.  Here  is  a  theor}'  that  the  proponent  thinks  ina\'  have  sense  in  it:  Fine 
type  letters  were,  in  the  first  place,  copies  of  fine  urittcn  Jettcrs.  Fine  written  letters  were  fine  because 
fhc^-  were  produced  in  the  most  direct  and  simple  way  by  a  tool  in  the  hands  of  a  person  expert  in  its 
i;sc,  by  a  person,  moreover,  who  was  an  artist,  i.e.,  a  person  equipped  to  make  sound  judgments  about 
lines,  curves,  proportions,  etc.  The  artist  of  that  moment  when  printing  was  invented  who  furnished 
the  fine  written  patterns  for  type  was  (luckily  for  printing)  uorkiiig  at  the  top  notch  of  a  fine  tradition 

(on  ten  poiut  body ) 

ABCDEFGHIJKLMNOPORSTUVWXYZ& 
ABCDEFGi///KLMNOP2RSTUV\X'XYZ& 

ABCDEFGHIJJKLMMNOPQRSTUVW.\YZ& 

abedcfghijklmnopqrstuvwxyzfiflffffiffl  i  234567890  ($£,.::'-'?!*p  {<[  ««^  ?>&>) 
abcdefghi/kinnio/)qr,stuvwx\zfiMffiffl  1  2  ^456-890  ($£,.:;'-■?/    \\\([  <«§  §>&') 

(^Matrix  Injoymation :  SA-lS-l.  I.'uvcr  i-.isc  :ilph;il)et.  104  iiniiit^.  I'iKiircs.  .Of..'2:  cninma,  period  .-ind  thin  cp;,ip.  .(1111.  Runs  in  90 
channel  niag.'izine.  Sni.-dlcst  slut;  I'li  wliiih  this  face  will  cast  is  9  iKiint.  Code  word.  ZKN'MI. 


311 


'^^    ELECTRA    c>^ 

1 0  P  O I N  T  HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF 
ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  O 
How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do 
the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they 
see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  prac- 
tical design.  And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent  practical 
fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right 
size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor 
"skinny"  and  weak,  no  waste  of  material  and  no  lack  of  strength.  And,  beyond  that,  the 
chair  may  have  been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and 
curves  and  proportions:  it  may  be,  actually,  a  work  of  art.  The  same  thing  holds  for 
shapes  of  letters.  And  your  chair,  or  your  letter  (if  a  true  artist  made  it)  will  have,  be- 
sides its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped  on  paper  and 
read.  That  explains,  in  a  way,  why  the  experts  rave  over  the  fine  shapes  of  letters;  but  it 
fails  to  explain  wherein  the  shapes  are  fine.  If  you  seek  to  go  further  with  the  inquiry, 
theories  will  be  your  only  answer.  Here  is  a  theory  that  the  proponent  thinks  may  have 
sense  in  it:  Fine  type  letters  were,  in  the  first  place,  copies  of  fine  written  letters.  Fine 
written  letters  were  fine  because  they  were  produced  in  the  most  direct  and  simple  way 
by  a  tool  in  the  hands  of  a  person  expert  in  its  use,  by  a  person,  moreover,  who  was  an 
artist,  i.e.,  a  person  equipped  to  make  sound  judgments  about  lines,  curves,  propor- 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do 
the  pace-makers  in  the  ait  oi  printing  rave  over  a  specific  face  of  type?  What  do  they 
see  in  it?  Why  is  it  so  superlatively  pleasant  to  theii  eyes?  Good  design  is  always  prac- 
tical design.  And  what  they  see  in  a  good  t}'pe  design  is,  partly,  its  excellent  practical 
fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right 
size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor 
"skinny"  and  weak,  no  waste  of  material  and  no  lack  of  strength.  And,  heyond  that,  the 
chair  may  have  been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and 
curves  and  proportions:  it  may  be,  actually,  a  work  of  art.  The  same  thing  holds  for 
shapes  of  letters.  And  your  chair,  or  your  letter  (if  a  true  artist  made  it)  will  have,  be- 
sides its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped  on  paper  and 
read.  That  explains,  in  a  way,  why  the  experts  rave  over  the  fine  shapes  of  letters;  but  it 
fails  to  explain  wherein  the  shapes  are  fine.  If  you  seek  to  go  further  with  the  inquiry, 

(on  twelve  point  body) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGH//KLMNOPQRST  (TV  WXYZ& 

ABCDEFGHIJJKLMMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflffffiffl  1234567890  ($£,.:;'-'?!*|tt<[  vaT;  ^) 
abcdefghi/kJmnopqrstuvvvxyzfiMffiffl  i2^..^^6y8go  ($£,.:;'-'?!  |t  +  ^[  'S^  §*») 

d[ Matrix  fti formation:  10A422.  Lower  case  alphabet,  125  points.  Figures.  .0692;  comma,  period  and  thin  space,  .0346.  Runs  in  90 
"[channel  magazine.  Smallest  slug  on  which  this  face  will  cast  is  11  point.  Code  word,  ZENLE. 


312 


:cj    ELECTRA 


':>! 


HOW  IS  ONE  TO  ASSESS  AND  EVALUAl'E  A  TYPE  FACE  IN  TERM     1 1  POINT 
OF  ITS  ESTHEIIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  TH 

How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type? 
What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good 
design  is  always  practical  design.  And  what  they  see  in  a  good  type  design  is, 
partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has  a  "heft"  and  bal- 
ance in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair 
has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly  the  work  that  the 
chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of 
material  and  no  lack  of  strength.  And,  beyond  that,  the  chair  may  have  been 
made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and  curves  and  pro- 
portions: it  may  be,  actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of 
letters.  And  your  chair,  or  your  letter  (if  a  true  artist  made  it)  will  have,  besides 
its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped  on  paper 
and  read.  That  explains,  in  a  way,  why  the  experts  rave  over  the  fine  shapes  of 
letters;  but  it  fails  to  explain  wherein  the  shapes  are  fine.  If  you  seek  to  go  further 
with  the  inquiry,  theories  will  be  your  only  answer.  Here  is  a  theory  that  the  pro- 
ponent thinks  may  have  sense  in  it:  Fine  type  letters  were,  in  the  first  place, 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  ait  oi  printing  rave  over  a  specific  face  of  type? 
What  do  they  see  in  it?  WJiy  is  it  so  superlatively  pleasant  to  their  eyes?  Good 
design  is  always  practical  design.  And  what  they  see  in  a  good  type  design  is, 
partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has  a  "heft"  and  bal- 
ance in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair 
has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly  the  work  that  the 
chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of 
material  and  no  lack  of  strength.  And,  heyond  that,  the  chair  may  have  been 
made  bv  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and  curves  and  pro- 
portions: it  may  be,  actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of 
letters.  And  your  chair,  or  your  letter  (if  a  true  artist  made  it)  will  have,  besides 
its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped  on  paper 

(on  thirteen  point  body) 

ABCDEFGHIJKLMNOPORSTUVWXYZ& 
ABCDEFGHJ/i<LMNOPORSTi;VWXYZ& 

ABCDEFGHIJJKL]\IMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflffffiffl  1234567890  ($£,.:;'-'?! *5Jt  I  ([^t?*') 
abcdefghi/klmnopqrstuvwxyzfififfffiffl  1234567S90  (S£,. :;'-'?/   j  i  I  i[^  i^^^) 

\  Matrix  Information  :  11  A'i--^-  I. "wtr  case  alphabet.  135  points.  Figures.  . 07''.!  ;  comma,  period  and  thin  spaee,  .0,^8.  Kuns  in  90 
L  channel  magazine.  Smallest  sluK  nii  whith  this  face  will  cast  is  12  point,  ("i^de  word,  ZF.rXI. 


313 


^j    ELECTRA    e>^' 

1 2  POINT    HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TE 
OF  ITS  ESTHETIC  DESICN?  WHY  DO  THE  PACE-MAKERS  IN  T 

How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes? 
Good  design  is  always  practical  design.  And  what  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has. 
Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly 
the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny" and 
weak,  no  waste  of  material  and  no  lack  of  strength.  And,  beyond  that,  the 
chair  may  have  been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine 
shapes  and  curves  and  proportions:  it  may  be,  actually,  a  work  of  art.  The 
same  thing  holds  for  shapes  of  letters.  And  }our  chair,  or  your  letter  (if  a  true 
artist  made  it)  will  have,  besides  its  good  looks,  a  suitability  to  the  nth  degree 
to  be  sat  in,  or  stamped  on  paper  and  read.  That  explains,  in  a  way,  why  the 
experts  rave  over  the  fine  shapes  of  letters;  but  it  fails  to  explain  wherein  the 

How  is  one  to  assess  and  evaluate  a  type  face  in  tenns  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eves? 
Good  design  is  always  practical  design.  And  what  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has. 
Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly 
the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinnv"  and 
weak,  no  waste  of  material  and  no  lack  of  strength.  And,  hevond  that,  the 
chair  may  have  been  made  by  a  man  who  worked  out  in  it  his  sense  of  £ne 
shapes  and  curves  and  proportions:  it  mav  be,  actually,  a  work  of  art.  The 
same  thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  letter  (if  a  true 

(on  fourteen  point  body) 

ABCDEFGHIJKLMNOPORSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ABCDEFGHIJJKLMMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxvzfiflffffifH  12  34567890  ($£,.:;'-'?!  "^ttt[«^(^') 
abcdefghijklmnopqrstuvwxyzBflfffRffl  1 2 ^^^6y8go ($£,.:;'-'?!   1 1 1 1[«^  (pa^'j 

dl Matrix  Infoniwtioii :  I2A384.  Lower  case  alphabet.  142  points.  Figures.  .083;  comma,  period  and  tliin  space,  .041S.  Runs  in  90 
"Lcliannel  magazine.  .Smallest  slug  on  which  this  face  will  cast  is  13  point.  Code  word,  ZENHO. 


314 


*<s^;    ELECTRA    (pa>' 

now  IS  ONE  TO  ASSESS  y\ND  EVALUATE  A  TYPE  FAG  H  point 
IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  P 
How  IS  ONE  to  assess  and  evaluate  a  type  faee  in  terms  of  its  esthetic 
design?  Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a 
specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superla- 
tively pleasant  to  their  eyes?  Good  design  is  a/ways  practical  design. 
And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent  prac- 
tical fitness  to  perform  its  work.  It  has  a  ''heft" and  balance  in  all  of 
its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair  has 
all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly  the  work  that 
the  chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny"and  weak, 
no  waste  of  material  and  no  lack  of  strength.  And,  beyond  that,  the 
chair  may  have  been  made  by  a  man  who  worked  out  in  it  his  sense 
of  fine  shapes  and  curves  and  proportions :  it  may  be,  actually,  a  work 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetie 
design?  Why  do  the  pace-nialcers  in  the  art  of  printing  rave  over  a 
speciRc  face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superla- 
tively pleasant  to  their  eyes?  Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent  prac- 
tical fitness  to  perform  its  work.  It  has  a  "heft''  and  balance  in  all  of 
its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair  has 
all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly  the  work  that 
the  chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny" and  weak, 
no  waste  of  material  and  no  lack  of  strength.  And,  beyond  that,  the 

(Ihn-r  toUit  I,;h!,;I) 

ABCDEFGHIJKLMNOPORSTUVWXYZ&  1 234567890 
ABCDEFGHIjKLMNOPORSTUVWXY7Ar  1 2  345678^0 

ABCDEFGHI J  JKLMMNOPQRSTUVWXYZii- 

abcdcfghijklmnopqrstuvwxyzfiflffffifi(S£,.:;'-'?!*^tti['-455^') 
abcdefghijklmnopqrstuvwxyzfiflfffFiffI  {$£,.:;'-'?!    ^  t  +^['-^ci(pa^•) 

[  Matrix  Iiifonnation  :  ]4A-T>-  T-cwer  cnse  alphalict.  160  pninis.  Fimire*^,  .OO/',.'^:  comma.  iR-ri'ul  and  tliin  space.  .04S-1.  Kuns  in  90 
[  ili.'uiiiel  maKaxine.  Smallest  slny  '>ii  wliiLh  tliis  face  will  cast  is  14  point.  Code  word,  ZKPF.S. 


315 


BOOK  PAGES 
IN  ELECTRA 


144 

mon  Gargantua  and  his  fol 
of  the  land  if  it  were  necess 
agreed  with  the  council  and 
tions,  dispatching  Basque, 
the  following  letter. 


XXXIX      The  Tenor  of  the] 
Wrote  to  Gargantua. 

The  enthusiasm  with  wh 
studies  would  prevent  me  ii 
your  philosophic  repose  ha 
aUies  I  always  trusted  disap 
age.  But  since  destiny  wills  t 
those  I  most  relied  on,  I  mu 
hack  to  defend  the  people  a 
trusted  to  you  by  right  oi  na 
are  unavailing  abroad  if  the 
home,  so  study  and  consult 
they  he  applied  fittingly  and  in  good  season. 

I  intend  to  appease  rather  than  provoke,  to  de- 
fend rather  than  assault;  I  do  not  seek  to  conquer 
new  lands  but  rather  to  preserve  my  faithful  sub- 
jects and  hereditary  dominions  which  Picrochole 
has  invaded  without  rhyme  or  reason,  and  which 
he  oppresses  day  by  day  with  a  fury  intolerable  to 
freeborn  spirits. 


THE  AUTHOR'S  PROLOGUE 


Hail,  o  most  valiant  and  illustrious  drink- 
ers!  Your  health,  my  precious  pox-ridden  comrades! 
To  you  alone,  I  dedicate  my  writings.  Suffer  me, 
therefore  to  draw  your  attention  to  a  dialogue  of 
Plato's  called  The  Banquet. 

In  this  work,  Alcibiades,  praising  his  master  Soc- 
rates (undoubtedly  the  prince  of  philosophers)  hap- 
pens, among  other  things,  to  liken  him  to  sileni. 

Sileni,  in  the  days  of  yore,  were  small  boxes  such 
as  you  may  see  nowadays  at  your  apothecary's. 
They  were  named  for  Silenus,  foster-father  to  Bac- 
chus. The  outside  of  these  boxes  bore  gay,  fantas- 
tically painted  figures  of  harpies,  satyrs,  bridled 
geese,  hares  with  gigantic  horns,  saddled  ducks, 
winged  goats  in  flight,  harts  in  harness  and  many 
other  droll  fancies.  They  were  pleasurably  devised 


Above  and  left:  These  two  pages  from 
Rabelais'  Gargantua  and  Pantagruel, 
now  newly  translated  into  English  by 
Jacques  Le  Clercq  and  with  decorations 
by  W.  A.  Dwiggins.  published  by  The 
Limited  Editions  Club  for  its  seventh 
series.  The  text  is  in  12  point  Electra. 


ELZEVIR  N0.3 


I  inol\  pc  1-,I/L'\ir  No.  l  like  most  of  the  l:lze\irs  useJ  in  modern 
printinj;.  i>  Ixised  upon  revivals  of  the  l:lzevir  t\pes  hrou^lit  out 
in  the  sexenties  bv  Mayeur  of  Paris,  now  known  ,i;enerall\-  as 
IrenchOkl  St\-ies. 

I'he  face  was  retined  somewhat  by  Ma\eur,  without  deparlin.t; 
from  the  orij^inal  intent  of  the  desij^ner.  which  was  to  secure  an 
open,  compact  type  suitable  to  the  little  editions  in  32mo  which 
are  the  best  known  product  of  the  Elzevir  press. 

For  the  modern  printer  this  series  finds  its  chief  usefulness  in 
book  work  and  in  advertising  printinij;  with  elegance  and  refine- 
ment appeal.  The  letters  are  open  and  readable  but  relativel}-  nar- 
row in  bod\',  allhoufjjh  in  no  sen.se  con(.lensed,  thus  permittinn  a 
larj^e  amount  of  cop\-  to  be  set  in  a  relativel\'  limited  area  of  sj-iace 
without  impairing;  lef^ihiiity  or  ease  of  readinji. 

I'he  italic  includes  a  number  of  Swash  cajiitals.  .As  with  other 
l.inotv'iie  lamilies,  a  series  of  harmonizinii;  decorati\e  material  lias 
been  designed  for  use  with  the  face.  Elzevir  No.  ^  is  a\ailable  on 
the  l.motv  pe  in  all  sizes  from  (i  to  24  point,  inclusive. 


.[llliiiiiiiiiririiiritiiitlMliiiilllillllilMlliiriiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiriiiriiiMiiiiiiiriririiniiiMMiiti||. 

•LINOTYPE") 


MERGENTHALER    I.INOtVl'E  COMl'AN^',  BROOKLYN.  NEW  'lOKK,  CIIlCACiO,  SAN   1  RANCISCO. 
NEW  ORLEANS.  CANADIAN    LINOTYPE,   LIMITED,  TORONTO.    Hepreuntalnes  nt  the  l'nncir<i!  C'ties  of  the  World. 


9 


6  Point  Elzevir  No.  3  with  Italic  and  Small  Caps  (6A220)  Lower  case  alphabet,  86  points.  Figures,  .0484 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  art  1234 
SIZES       HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design'  Why  do  the  pace-makers  m  the  art  vbcd 


8  Point  Elzevir  No.  3  with  Italic  and  Small  Caps  (8A306)  Lower  case  alphabet.  111  points.  Figures,  .0553 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  vbcd 

9  Point  Elzevir  No.  3  with  Italic  and  Small  Caps  (9A78)  Lower  case  alphabet,  120  points.  Figures.  .0622 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  d  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  f  Why  d  vbcd 

10  Point  Elzevir  No.  3  with  Italic  and  Small  Caps  (10A274)  Lower  case  alphabet,  128  points.  Figures.  .0692 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  vbcd 

11  Point  Elzevir  No.  3  with  Italic  and  Small  Caps  (11A74)  Lower  case  alphabet,  140  points.  Figures,  .0761 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  d  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  d  vbcd 

12  Point  Elzevir  No.  3  with  Italic  and  Small  Caps  (12A224)  Lower  case  alphabet,  153  points.  Figures,  .083 

HOW  ISONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esth  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esth  vbcd 


14  Point  Elzevir  No.  3  with  Italic  and  Small  Caps  (14A126) 


Lower  case  alphabet,  176  points.  Figures,  .0968 


HOW  I S  ON E  to  assess  and  evaluate  a  type  face  in  terms  1 234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  vbcd 


18  Point  Elzevir  No.  3  (18A155) 


Lower  case  alphabet.  222  points.  Figures,  .1107 


HOW  IS  one  to  assess  and  evaluate  a  type  face  12 


24  Point  Elzevir  No.  3  (24A133) 


Lower  case  alphabet,  296  points.  Figures,  .166 


HOW  IS  one  to  assess  and  evaluate  1 2 


-<"°LINOTYPE"">)- 


LIST  OF  CHARACTERS   IN  TWO-LETTER  FONTS 


With  ITALIC  and  Small  Caps 


ABCDEFGHIJKLMNOPQRSTUVWXYZ 
ABCDEFGHIIKLMNOPQRSTUVWXYZ 

ABCDEFGIIIJKLMNOPQRS'^UVWXYZ 

12345        abcdefghijklmnopqrstuvwxyz        67890 
VBCDE       abcdefghijklmnopqrstuvwxyz        fgrtj 

,.:;?!(!  )*" ^CEtb&£$  .  .. 

,.S;:^.'a1Q0"-  —  /€ffiffi)N£pL 

12345        Z&  :(  )flfriffl|Kce 
12545        v&:()flffiffl$(Ece 


fi  fl  fF  ffi  ffl  s  ce 
fiyffwMKH 

67890 
67890 

%  1 1  §  H  -  [  ] 


SWASH  CHARACTERS 

Included  ill  all  Fhcvir  No.  3  Fonts 

OLD  STYLE  FIGURES 
1234567890 

Made  for  all  sices  and  will  be  substituted  for 

those  regularly  furnished  with  a  font,  if  so 

ordered,  or  may  be  added  as  an  extra 


ITALIC  LOGOTYPES  (SUPPLIED  ON  SPECIAL  ORDER) 

Va    Ve   Vo   Wa    We   Wo    Ya    Ye    Yo  FA    PA    TA    VA    WA    YA 


318 


HOW  IS  ONE  TO  ASSRSS  AND  UVAl  UATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  Do 
THE  PACE-MAKERS  IN  THE  ART  Ol^  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  OF  TYPE?  WHAT  DO  Til 

HOW   IS  ONE  TO  ASSESS  AND   EVALUATE  A   TYI'E   FACE   IN   TERMS  OF   ITS   ESTHETIC  DESIGN?   WHY   DO  THl     PACE-MAKI  KS   IN    I  HE   AR  I 


How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of 
its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of 
printing  rave  over  a  specific  face  of  type?  What  do  they  see 
in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes? 
Good  design  is  nlways  practical  design.  And  what  they  see 
in  a  good  type  desiyn  is.  partly,  its  excellent  practical  fit- 
ness to  perform  its  work.  It  has  a  "heft"  and  balance  in  all 
of  its  parts  just  riKht  for  its  size,  as  any  good  tool  has. 
Your  good  chair  has  all  of  its  parts  m.ule  nicely  to  the  right 
size  to  do  exactly  the  work  that  the  chair  has  to  do.  neither 
clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of  ma- 
terial and  no  lack  of  strength.  And,  beyond  that,  the  chair 
may  have  been  made  by  a  man  who  worked  out  in  it  his 
sense  of  fine  shapes  and  curves  and  proportions:  it  may  be, 
actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of 
letters.  .And  your  chair,  or  your  letter  (if  a  true  .irtist  nude 
it)  will  have,  besides  its  good  looks,  a  suitability  to  the  «th 
degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That  ex- 
plains, in  a  way.  why  the  experts  rave  over  the  fine  shapes 
of  letters:    but    it    f:iils   To  expl.nn   wherein    the   shapes  are 

lliiw  IS  tine  to  as\c^s  and  cz'iihiatc  a  type  lace  in  terms  oj 

its  esthetic  de\igni^   Why  do  the  pace-makers  m  the  art  oj 

(one  p.ui,t  leiuleJ) 


How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of 
its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of 
printing  rave  over  a  specific  face  of  type?  Wh.n  do  they  see 
in  it?  Why  is  it  so  superlatively  pleasant  to  their  eves? 
Good  design  is  always  practical  design.  .And  what  they  see 
in  a  good  type  design  is.  p.irtly.  its  excellent  practical  fit- 
ness to  perform  its  wurk.  It  h.is  a  "heft"  and  b. dance  in  all 
of  its  p.ots  just  right  fur  its  size,  as  .mv  good  tool  h.is. 
Your  good  chair  has  all  of  its  p.irts  matle  nicel\'  to  the  right 
size  to  do  exactly  the  work  th.il  liie  chair  h.is  to  do.  neither 
clumsy  and  thick,  nor  "skinn\  "  and  weak,  no  waste  of  ma- 
terial and  no  lack  of  strength.  .And.  beyond  that,  the  chair 
may  have  been  made  by  a  man  who  worked  out  in  it  his 
sense  of  fine  shapes  and  curves  and  proportions:  it  may  be. 
actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of 
letters.  And  your  chair,  or  \i)ur  letter  (if  a  true  artist  m.ide 
it)  will  have,  besides  its  gond  hioks.  a  suitability  to  the  iiih 
degree  to  be  sat  in.  or  stamped  on  paper  ami  re.ul.  That  e\- 
Ilow  IS  one  to  assess  and  ez'aliiate  a  type  face  in  ferine  el 
lis  esthetic  design?   H'hy  do  the  pa,  e-makeis  in  the  art  oj 

(two  point  leiiileJ  I 


ABCDEFGIHIKI  .\lNOP{)RSTUVW.\YZ& 
AHCDI-.rGHIIKI.MNOr'QRSTUVWX  >  Z& 

ABCDEFGHIJKLMNOl'QKSTUVWXYZA 

abcdefghijklmnopc|rstuvwxvzfifllTlfitill234S(i78'>0(§  £,.:;■-■.•' !*t)  1214^67800 
abcdefghiikhnnopqr stiivw.\y;fiflffffi/fl 1 2 i-l5o7SOn($ £,.:;■-■?!   t )  1 2  i4',07Si)o 


6 


POINT 


(,A--'0.    I.CllKtIl   of  In 


se  alplialiet,  xr.  in.iuts.  FiKur 


.naxa  Will 


')()  tliai 


-(LINOTYPE    >> 


HOW  IS  ONE  TO  ASSESS  AND  EVALL'ATH  A  rVPI-.  FACE  IN  TERMS  OF  FFS  ESTIIM 
design:^  why  do  the  pace-makers  in  the  art  of  printing  RAVE  OVER  A 

HOW  IS  ONI:  TO  ASSHSS  .AND  EVAI.UATH  A  TYPE  FACE  IN  TERMS  OF  ITS  ESrHETIC  DESIGN?"  WHY  DO  THE  PACF- 


How  IS  ONE  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  ra\e  over  a  specif- 
ic face  of  type?  What  do  they  see  in  it?  Why  is 
it  so  superlatively  pleasant  to  their  eyes?  Good 
Jesiiin  IS  alwtiys  pracfical  design.  And  what  they 
see  in  a  good  type  design  is,  partly,  its  excellent 
practical  fitness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right 
for  its  size,  as  any  good  tool  has.  ^'ollr  good 
chair  has  all  of  its  parts  made  nicely  to  the  right 
si/.e  t(.)  do  exactly  the  work  that  the  chair  has 
to  do,  neither  clumsy  and  thick,  nor  "skinny" 
and  weak,  no  waste  of  material  and  no  lack  of 
strength.  .And.  beyond  that,  the  chair  ma>'  ha\e 
I  lore  IS  one  to  assess  and  evaluate  a  type  jaee  in 
terms  of  its  esthetic  design?  Why  do  the  paee- 

(unc  point  leaded) 


I  low  IS  ONE  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?^  Why  do  the  pace- 
makers in  the  art  ol  printing  ra\'e  o\'er  a  specif- 
ic face  of  type'  What  do  the\'  see  in  it'  Whv  is 
it  so  superlati\el\'  pk-asant  to  their  e>es?  Good 
design  is  always  practical  design.  And  what  thev 
see  in  a  good  type  design  is,  partly,  its  excellent 
practical  fitness  to  perform  its  work.  It  has  a 
"heft"  antl  balance  in  all  of  its  parts  just  right 
lor  its  si/e,  as  any  good  tool  has,  ^■our  good 
chair  has  all  of  its  parts  made  nicel\-  to  the  right 
si/e  to  do  exactly  the  work  that  the  chair  has 
to  do.  neither  clumss'  and  thick,  nor  "skinn\'" 

I  line  is  one  to  assess  and  evaluate  a  I  ype  jaee  tn 
terms  of  its  esthetic  design?  Why  do  the  pace- 

I  two  foini  leaded) 


.\QCDEPG\\\]K\.\W()\H)RS\[\\\\\/.k 
.MiCDF.FGHl'jKl.MhlornKSTUVWXYZib- 

AlSCDEFGIll.lKl.MNOPiJKSITIVWXYZcV 

abcdefghijklmnopqrstuvwxy/.lilllfllifill234=;()78W($£„:;'-'?!*t)i2  34s67S90 
ahcdefghijklwnopqrsluvw.xy^flfitffftffllimoimKU.-:  :'-'■''■    Vi2U507^OO 


8 

POINT 


.i;,i/Mi-   ln{o,  I 
uor.I,  .1\W.\. 


„tion:  SA.lll'i.   FenKth  i.f  lower 


alplial.cf.    11  1    ii,.iiils.    I'mvu 


.05.--!.    Will    11 


319 


9 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ES 

POINT        HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  T 

How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design  is.  partly,  its  excellent  practical  fitness  to  perform 
its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool 
has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly  the  work 
that  the  chair  has  to  do,  neither  clums>'  and  thick,  nor  "skinny"  and  weak,  no  waste  of  mate- 
rial and  no  lack  of  strength.  And.  beyond  that,  the  chair  may  have  been  made  by  a  man  who 
worked  out  in  it  his  sense  of  fine  shapes  and  curves  and  proportions:  it  may  be.  actually,  a 
work  of  art.  The  same  thing  holds  for  shapes  of  letters.  And  \'our  chair,  or  your  letter  (if  a 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type'  What  do  they  see  in  it? 

(three  point  leaded) 

ABCDEFGH1JKLMN0P0RSTUVWXYZ& 
ABCDEFGHI/KLMNOPQRSTUVWXYZS- 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflffffiffll234567890(|£,.  :;■-•?  1*1)12^567890 
abcdefghi]klmnopqrstuvwxy'Jiflffffiffll234567890(U,-  ■  :'-'?'■   \)  1234^67890 

Matrix  Information:  9A78.  Length  ot  lower  c.-i'^e  .ilphabet.  120  points.  Figures.  .0022.  Will  run  in  90  chc-innel  layout.  Code  word. 
JYVD. 


-("^LINDTYPE"')- 


10 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  IT 

POINT       HOW  IS  ONE  TO  ASSESS  AND  EV.\LUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WH 

How  IS  ONE  to  assess  and  exaluate  a  type  face  in  terms  of  its  esthetic  design?  W'hv  do 
the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they 
see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  prac- 
tical design.  And  what  the>'  see  in  a  good  type  design  is,  partly,  its  excellent  practical 
fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for 
its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the 
right  size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor 
"skinny"  and  weak,  no  waste  of  material  and  no  lack  of  strength.  And,  beyond  that. 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do 
the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they 

(three  point  leaded) 

ABCDEFGHI1KLMN0PQRSTUVWXYZ& 
ABCDEFGHl'jKLMNOPQRSTUVWXYZQs- 

ABCDEFGHIJ  KLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzntlffffifflI234567890($£,.  :;'-'?!*!)  1234567890 
ahcdefghi]khnnopqrstuvwxyififlfjffiffll234567890(^£..: ;'-'?!  \)  1234^67890 

Matrix  hjforwation :  lOA-374.  Leiif^th  of  lower  case  alphahet.  128  points.  Figures,  .0692.  Will  run  in  90  channel  layout.  Code 
woni.  JVZI. 


320 


HOW  IS  ONF.  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS 
OF  ITS  ESTHETIC  DESIGN?  Win'  DO  THE  PACE-MAKERS  IN  THE 

HOW  IS  ONH  TO  ASSESS  AM)  lA'Al.L  A  1  I-.  A   I^T'f:  1  ACh  IN    TI-KMS  OI-  ITS  l:SI  IIETIC  DKS 

How  IS  ONE  to  assess  and  evaluate  a  t\-pe  face  in  terms  of  its  esthetic  design? 
Wh\'  do  the  pace-makers  in  the  art  of  printing  rave  o\er  a  specific  face  of  type? 
What  do  they  see  in  it?  Why  is  it  so  superhiti\el\'  pleasant  to  their  eyes?  (]ood 
desii^n  IS  akcays  practical  deii'^n.  And  what  they  see  in  a  good  t\'pe  design  is, 
partl\',  its  excellent  practical  fitness  to  perform  its  work.  It  has  a  "heft"  ami 
balance  in  all  of  its  parts  just  right  for  its  size,  as  an\'  good  tool  has.  Your  gooil 
chair  has  all  of  its  parts  madenicel}'  to  the  right  size  to  do  exactly  the  work  that 
the  chair  has  to  do.  neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no  wasie 
of  material  and  no  lack  of  strength.  .\ud,  he\'ond  that,  the  chair  mav  have  been 
made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and  cur\'es  and  pro- 
portions :  it  ma\'  be.  actuall\',  a  work  t)f  art.  The  same  thing  holds  for  shapes  of 
letters.  And  \'our  chair,  or  \'our  letter  ( if  a  true  artist  made  it )  will  have,  be- 
sides its  good  looks,  a  suitability  to  the  ??th  degree  to  be  sat  in,  or  stamped  on 
paper  and  read.  That  explains,  in  a  wa\',  whv  the  experts  ra\e  over  the  fine 
shapes  of  letters;  but  it  fails  to  explain  wherein  the  shapes  are  fine.  If  \'ou  seek 
to  go  further  with  the  inciuir\',  theories  will  be  \'our  onlx'  answer.  I  lere  is  a  the- 
()r\'  that  the  proponent  thinks  ma\'  have  sense  in  it:  Fine  t\pe  letters  were,  in 
the  first  place,  copies  of  fine  written  letters.  Fine  written  letters  were  fine  be- 
cause the\'  were  produced  in  the  most  ilirect  and  simple  way  by  a  tool  in  the 
hands  of  a  person  expert  in  its  use,  by  a  person.  moreo\'er,  who  was  an  artist 
(i.e..  a  person  equipped  to  make  sound  judgments  about  lines,  curxes,  propor- 
tions, etc.).  The  artist  of  that  moment  when  printing  was  inx'enled  who  fur- 
nished the  fine  written  patterns  for  t\pe  was  ( luckily  for  printing  )  working  at 
Hozv  is  one  to  assess  and  evaluate  a  type  face  m  terms  of  its  esti?etic  desi^nf 
W'b  r  do  the  pace-makers  in  the  art  of  print uv^  rave  over  a  specific  face  of  typef 
What  do  they  see  in  it'  Why  is  it  so  superlatively  pleasant  to  their  eyesf  Good 

(four  foint  leaded) 

ABCDFFCIIIIKLMNOPORSTLA  WX^Z& 
.4  BCD l'h\  iin'jKLMNOPQRS TU I '  I F.V  )  ZS- 

ABCTIEI  GHI.I  KI.MNOPQKSITjAW'X^'ZcS: 

abcdefghi]klmnopqrsluvwxvzfififffiiffi  I234S67890(  ^£.. : :'-'  ?  !*t )  1 2  ^4567800 
ahcdefghijklmnopqrstiiviuxyififli]f^ffll2M507890(U.-  ■  :'-'^^  '012)4367890 

Mulii.i  hiun  million  ■  IlAr4.  I.fiiulh  ol  Ic.wer  case  alpli.ibct.  \W  puiiils.  l-innrci.  .071.1.  Will  run  in  'Xl  ili.innel  layout,  ('..ilc 
u.iril.    K.\.\K. 


POINT 


321 


12 

POINT 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  T 
OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETI 

How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant 
to  their  eyes?  Good  design  is  always  practical  design.  And  what  they  see 
in  a  good  type  design  is,  partly,  its  excellent  practical  fitness  to  perform 
its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely 
to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither 
clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of  material  and  no 
lack  of  strength.  And,  beyond  that,  the  chair  may  have  been  made  by  a 
man  who  worked  out  in  it  his  sense  of  fine  shapes  and  curves  and  propor- 
tions :  it  may  be,  actually,  a  work  of  art.  The  same  thing  holds  for  shapes 
of  letters.  And  your  chair,  or  your  letter  (if  a  true  artist  made  it)  will 
have,  besides  its  good  looks,  a  suitability  to  the  wth  degree  to  be  sat  in, 
or  stamped  on  paper  and  read.  That  explains,  in  a  way,  why  the  experts 
rave  over  the  fine  shapes  of  letters;  but  it  fails  to  explain  wherein  the 
shapes  are  fine.  1  f  you  seek  to  go  further  with  the  inquiry,  theories  will  be 
your  only  answer.  Here  is  a  theory  that  the  proponent  thinks  may  have 
sense  in  it :  Fine  type  letters  were,  in  the  first  place,  copies  of  fine  written 
letters.  Fine  written  letters  were  fine  because  they  were  produced  in  the 
most  direct  and  simple  way  by  a  tool  in  the  hands  of  a  person  expert  in  its 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific 
face  of  typef  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant 


(four  point  leaded) 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHI/KLMNOPQRSTUVWXYZ& 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfifift'ffiffl  1 2345678(|f ,. : ;'-' ?  !*t )  1 2345678 
abcdefghifklmnopqrstuvwxyzfififfffiffl}2M5678($£,.:;'-'r!  \)  12343678 

Matrix  Information  :  12A224.  Length  of  lower  case  alphabet,   153  points.   Figures.  .083.  Will  run   in  90  channel  layout.   Code 
word.  KAAR. 


322 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FA 
IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  Til 

HOW  ISONETO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  IT 

How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  es- 
thetic design?  Why  do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  type?  What  do  they  see  in  it  ?  Why  is 
it  so  superlativel\-  pleasant  to  their  eyes?  Good  design  is  always 
practical  design.  And  what  they  see  in  a  good  type  design  is, 
partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has 
a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made 
nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair 
has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no 
waste  of  material  and  no  lack  of  strength.  And,  beyond  that, 
the  chair  may  have  been  made  by  a  man  who  worked  out  in  it 
his  sense  of  fine  shapes  and  curves  and  proportions:  it  ma\'  be, 
actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of  let- 
ters. And  your  chair,  or  your  letter  (if  a  true  artist  made  it)  will 
have,  besides  its  good  looks,  a  suitability  to  the  nth  degree  to 
be  sat  in,  or  stamped  on  paper  and  read.  That  explains,  in  a  way, 

Hoiv  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  es- 
thetic design/  Why  do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  type/  What  do  they  see  in  it/  Why  is 


(faui  f'niil  li-iided) 


ABCDEFGHIIKLMNOPORSTUVWXYZ& 
A  BCDEFGHf]KLMNOl'QRSTUVWXYZ& 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflffmffl  1 234(|;£,. : ;'-' ?  !*t )  1 23 
ahcdef ghijkhmiopqrstuvwxy zfiftff ffifjl  1234($£, .:;'-'/ '.    ^)  123 

Matrix  hiiurimitioH  :   I4ai.'(..    I  eiiKtIl   "I   I"\ver  tase  alphabel.    1 7r,  |)..ints.    I'lKUlcs.   -Q'>(:H.    Will   lun   in  '«!  iliaiini.-l   lay.Hit.   I  i.ile 
ttoKl.  KAEL. 


14 

POINT 


323 


i8 

POINT 


24 

POINT 


How  is  one  to  assess  and  evaluate  a  face  of  type 
in  terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  design 
is  always  practical  design.  And  what  they  see  in  a 
good  type  design  is,  partly,  its  excellent  practical 
fitness  to  perform  its  work.  1234567890 1234367890 


(six  flint  leaded) 


ABCDEFGH I J  KLMNOPQRSTUVWX  YZ& 

abcdefghijklmnopqrstuvwxyzfiflfffiiffld,. :;'-'?!) 

Matrix  Infoniiation  :  18A]?^.  I-eii«th  of  lower  c;ise  alphabet.  222  points.   Figures,  .1107.  Will  run  in  90  channel  layout.  Cnde 
wcrd,  K.\FS. 

(p    LINOTYPE"'') 


How  is  one  to  assess  and  evaluate  a 
type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  any  specific 
face  of  type?  What  do  they  see  in  ab 
cdefghijklmnopqrstuvwxyz  (|,.:;'-7!) 


(six  fvint  leaded) 


ABCDEFGHIJKLMNOPQRSTUV 

WXYZ&I23456123456 

Matrix  iMiormation :  24A1.^3.  J.eiiKtli  .>f  h.wer  case  alphabet,  296  pc.ints.  Figures,  .166.  Will  run  in  Display  Linotypes,  72  than- 
nel  layniit  ;  ;ilsn  lower  ta^e  exiepi  iii  ;itid  w  in  cap  side  of  90  channel  magazine.  Code  word.   KAI.M. 


324 


ERBAR 

MEDIUM 

CONDENSED 


A  new  and  useful  Medium  weight  of  Erbar  Con- 
densed—midway in  color  between  Light  and 
Bold— ideal  for  news  heads  and  advertising 
display,  where  just  enough  attention-calling 
note  is  desired  and  compactness  of  shape  and 
generous  letter-count  is  necessary.  The  letter 
shapes  retain  the  design  style  and  distinction 
that  has  won  Erbar  the  approval  of  discriminat- 
ing publishers  and  printers  on  two  continents. 
Five  useful  sizes,  from  18  to  42  point  inclusive. 


MERGENTHALER  LINOTYPE  COMPANY 
BROOKLYN,  NEW  YORK 

NEW  YORK  CITY,  CHICAGO,  SAN  FRANCISCO,  NEW 
ORLEANS.  CANADIAN  LINOTYPE,  LIMITED,  TORONTO 
Representatives  in  the  Principal  Cities  of  the  World 


UNOTYPE"-' 


ERBAR 

EJ  C  If    'i    i        \i  IS  Point  (18A391)  Lower  case  alphabet.  156  points.  Figures.  .0968 

M  t  u  i  u  M    HOW  IS  one  to  assess  and  evaluate  a  type  face  In  terms  of  its  esth  1 2 
londensed 

^1       ■  J   ^11   I    ■      11^  24  Point  (24A3S3)  Lower  case  alphabet.  192  points.  FiKures.  .1107 

,  HOW  IS  one  to  dissess  and  evaluate  a  type  face  in  ter  12 

Comparison  '  ^ 

of    3IZ6S  28  Point  (28A2.1>  Lower  case  alphabet.  212  pi. nits.  Figures.  .1107 

HOW  IS  one  to  assess  and  evaluate  a  type  face  i  \1 

34  Point  (34A15>  Lower  case  alphabet.  257  points.  Figures,  .1522 

HOW  IS  one  to  assess  and  evaluate  a  ty  1 2 

42  Point  (42A59)  Lower  case  alphabet.  317  points.  Fisnre  1.  .1798;  2  to  0.  .2075 

HOW  IS  one  to  assess  and  evall  2 

(tr^oLINDTYPE^ 


LIST   OF   CHARACTERS   AVAILABLE    IN    FONT 

ABCDEFGHIJKIMNOPQRSTUVWXYZ 
12345  abcdefghijklmnopqrstuvwxyz  67890 

Vs  %  %  Vi  %  \  Vt 


324  b 


ERBAR 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS    MEDIUM 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  estlietic    Condensed 

design?  Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  spe- 

cific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively 

pleasant  to  their  eyes?  Good  design  is  always  practical  design.  And 

what  they  see  in  a  good  type  design  is,  partly,  its  excellent  practical 

fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its 

parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair  has 

all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly  the  work  that 

the  chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and  weak, 


18 


(Snliill 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ab(defghijklmnopqrstuvwxYz1234567890($,.:;-'?!) 

Matrix  Information:  18A'''91.  Length  of  lower  case  alphabet.  1  S6  i)oints.   KiKiires.  .0968.  Will  run  in  90  channel  layout.  Smallest 
slug  on  which  this  face  will  cast  is  17  point,  ("ode  wnrri.  ZIDIZ. 

(tpo.  LINOTYPE^ 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of 
its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of  24 
printing  rave  over  a  specific  face  of  type?  What  do  they 
see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes? 
Good  design  is  always  practical  design.  And  what  they 
see  in  a  good  type  design  is,  partly,  its  excellent  practi- 


(  solid) 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
abcdefghijklmnopqrstuvwxyz1234567890($,. :;-'?!) 

Matrix  Infprmaliitii :  J4A.'?'.  l-cnuth  of  lower  cise  .-ilphaliet.  192  jji.iiUs.  FiKiires.  .1107.  Will  run  in  W  ch.-innel  layout.  Sni.illest 
sliiK  1.1,  wliiili  this  f.ue  will  c.isl  is  22  i>..iiit.  (Ode  w,,nl.  ZIDJO. 


324  c 


ERBAR 

-''-^ —  How  is  one  to  assess  and  evaluate  a  type  face  in 
28  terms  of  its  estlietic  design?  Wliy  do  tlie  pace-mai(- 
ers  in  tlie  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it  so  superla- 
tively pleasant  to  their  eyes?  Good  design  is  al- 

ABCDEFGHIJKLMNOPQRSTUYWXYZ& 
abcdefghijklmnopqrstuvwxyz  1234567890  ($,.:;-?!) 

Matii.v  Injormation:  28A23.  Length  of  lower  case  alphabet.  212  points.  Figures.  .1107.  Will  run  in  90  channel  layout.  Smallest 
slug  on  which  this  face  will  cast  is  26  point.  Code  word,  ZIDLA. 


(LINOTYPE^ 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE 
■u  How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  type  ($,.:;-'?!) 

ABCDEFGHIJKLMNOPORSTUYWXYZ& 
abcdefghijklmnopqrstuvwxyz  1 23456789 

Matrix  Ififorniatioii  ■  .'^4A15.  Length  of  lower  case  alphabet.  25i7  points.  Figures.  .1522.  Will  run  in  72  channel  layout;  also 
lower  case,  except  m.  in  lap  channels  of  90  channel  magazine  with  caps  and  figures  in  34  channel  auxiliary  magazine.  Smallest 
slug  on  which  this  face  will  cast  is  32  point.  Code  word.  ZIDME. 


324  d 


ERBAR 

MEDIUM 

Condensed 


HOW  IS  ONE  TO  ASSESS  AND  EV  '^'''' 
How  is  one  lo  assess  and  evaluate  42 
a  type  face  in  terms  oi  its  esthetic 
design?  Why  do  the  pace-makers 
in  the  printing  art  rave  over  a  spe- 
cific face  of  type?  What  do  they  see 
in  it?  Why  so  superlatively  pleas- 
ant to  their  eyes?  Good  design  is 
always  practical  design.  And  what 
they  see  in  1234567890  ($,.:;-'?!) 


(tziv  point  U-adcd) 


ABCDEFGHIJKLMNOPQRSTUVW 
abcdelghijklmnopqrstuvwxyz 

Matrix  hilxnnatiot     42A?"A  Length  ni  Inwer  case  alphabet.  J17  pninl'^.   Figure  I.  .1798;  2  to  0.  .207S.  Will  run  in  72  channel 
layi>ut ;  alsn  in  34  channel  auxiliary  inaga/ine.  Smallest  sIuk  on  wliirh  this  lace  will  cast  is  .^6  point.  Code  word.  ZIHAH. 


324  e 


i  \ 


STUDENT 
SUPPLIES 


} ^ > i 


X 


Loose  Leaf  Binders  25c 
Fabena  Pencils  6  for  25c 
Bond  Paper  box  60c 

Loose  Leaf  Fillers        12c 


Scratch  Pads 
Rubber  Bands 
Art  Gum  Eraser 


12  for  10c 


Left:  Announcement,  set  in  72  point  Erbar  Light 
Condensed  and  24  point  Erbar  Medium  Condensed. 
Decoration :  Matrix  slides  6  point  Nos.  407^  A, 
407/2B:  12  point  Nos.  407J^A.  and  407/^3. 

Below:  Newspaper  advertisement,  set  in  34  point 
Erbar  Medium  Condensed,  30  point  Bodoni  Italic, 
A-P-L,  and  8  point  Bodoni,  leaded.  Decoration: 
5  point  Matrix  slide  No.  1822. 

Botiont:  Announcement,  set  in  42  point  Erbar  Bold 
Condensed,  24  point  Erbar  Light,  Medium  and  Bold 
Condensed,  and  18  point  Erbar  Bold  Condensed. 
Decoration:  Matrix  slides  3  point  No.  425  and  6 
point  No.  426.  Initial.  60  point  Erbar  Bold  Con- 
densed. 

^^^^^^^^^^^^^^^^^^^^^^^^ 

Wlietyour 
appetite  at 

HOWEL  HALL 

Our  Chef  will  do  the  rest.  This  pleas- 
ant beach-front  hotel  has  long  been 
famous  for  its  food.  And  don't  let  a 
diet  deter  you.  Our  trained  dietitian 
will  cater  to  it  with  iniderstanding. 
Rates  as  low  as  $7.00  up,  American 
Plan.  .  .  .  European  Plan  also.  Special 
weekly  rates. 

HowEL  Hotels,  Inc. 

OCEAN  PARK 


123-07  Frederick 


THE  ERBAR  PRESS 

announces  the  addition  of  a  new  condensed 
sans  serif  Linotype  face.  It  is  available  to  our 
customers  in  LIGHT.  MEDIUM  and  BOLD 
weights  and  a  comprehensive  range  of  sizes. 


1234  Delphi  Avenue,  Bloominglonr  Ohio 


ERBAR 

LIGHT  AND  BOLD 

CONDENSED 


A N W FA(E  FORNEWS  HEADS 
AND  MODERN  TYPE  DISPLAY 


Linotype  Erbar  Condensed  is  more  than  just  another  condensed 
Gothic  for  newspaper  heads.  Its  letter  shapes  have  design-style 
and  drawing  in  them  — they  definitely  differ  from  the  cold,  mechani- 
cally-cramped condensed  forms  previously  accepted  in  this  kind 
of  face.  Erbar  Light  and  Bold  echo,  in  no  small  degree,  the  dis- 
tinction and  smartness  of  the  modern  sans  serif  faces  that  have 
proved  so  popular  the  past  several  years. 

For  newspaper  heads,  both  weights  of  Erbar  Condensed  offer 
compactness,  excellent  letter  count,  and  the  utmost  possible  legi- 
bility in  so  condensed  a  type.  You  will  find  each  useful,  too,  in 
contemporary  advertising  composition  of  the  modern  character— 
to  combine  with  the  newer  sans  serif  and  flat  serif  faces,  such  as 
Linotype  Memphis  and  Metro,  and  for  display-spotting  in  the 
manner  ordinary  condensed  Gothics  are  freguently  employed. 


;^MRADE  [_|  ^  OTYPE  ""''^!)^ 


MERGENTHflLER   LINOTYPE   COMPANY 

Brooklyn,  N.  Y.,  Chicago,  San  Francisco.  New  Orleans, 

Canadian  Linotype,  Limited,  Toronto.  Representatives 

in  the  Principal  Cities  of  the  World 


ERBAR 

■  •      I    1  ■il  10  roint  Erbar  Light  Condensed  with  Erbar  Bold  Condensed  (10A416)  Lower  case  alphabet,  96  points.  Figures,  .0622 

Lighl  Wlin  HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-M 

D   l«l  r      A  ^°*  '^  °"^  *°  ^""^  ''"^  evaluate  a  type  face  in  terms  of  its  estlietic  design?  Why  do  ttie  pace-makers  1 234 

PQIO  lOnO.  HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN!  WHY  DO  THE  PACE-M 

■"^^■""^  How  is  one  to  assess  and  evaluate  a  type  fate  in  terms  of  its  esthetic  design!  Why  do  the  pate-makers  1 234 

12  Point  Erbar  Light  Condensed  with  Erbar  Uold  Condensed  (12A392)  Lower  case  alphabet,  104  points.  Figures,  .0692 

Comparison       HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE 

of  Sizes  How  is  o"6  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace- 1 234 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN!  WHY  DO  THE 

How  Is  one  to  assess  and  evaluate  a  type  face  in  terms  of  Its  esthetic  design!  Why  do  the  pace- 1234 

14  Point  Erbar  T,ip;Tit  Condensed  with  Erbar  Bold  Condensed  n4A210)  Lower  case  alphabet.  12,1  points.  Figures,  .08J 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN? 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esttietic  design?  Why  1 234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN! 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design!  Why  1 234 

18  Point  Erbar  Light  Condensed  (18A353)  Lower  case  alphabet,  153  points.  Figures,  .0968 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS 
How  is  one  to  assess  and  evaluate  a  type  tace  in  terms  of  its  esthei  12 

24  Point  Erbar  Light  Condensed  (2-tA299)  Lower  case  alphabet.  189  points.  Figures,  .1107 

HOW  IS  one  to  assess  and  evaluate  a  type  face  in  term  12 

28  Point  Erbar  Light  Condensed  (2SA21)  Lower  case  alphabet,  209  points.  Figures.  .1107 

HOW  IS  one  to  assess  and  evaluate  a  type  face  i  12 

34  Point  Erbar  Light  Condensed  (34A13)  Lower  case  alphabet,  251  points.  Figures,  .1245 

HOW  IS  one  to  assess  anci  evaluate  a  ty  12 

42  Point  Erbar  Light  Condensed  (42A47)  Lower  case  alphabet.  303  points.  Figure  1,  .166;  2  to  0,  .1937 

HOW  IS  one  to  assess  and  evalu  12 

48  Point  Erbar  Light  Condensed  (48A17)  Lower  case  alphabet,  341  points.  Figure  1,  .1937;  2  to  0,  .2213 

HOW  IS  one  to  assess  and  e  12 

54  Point  Erbar  Light  Condensed  (54A3)  Caps,  figures  and  points  only.  Figure  L  .J213;  2  to  0,  .249 

HOW  IS  ONE  TO  ASSESS  12 

60  Point  Erbar  Light  Condensed  (60A7)  Caps,  figures  and  points  only.  Figure  1,  .235;  2  to  0,  .2767 

H0WIS0NET0ASSES12 


326 


ERBAR 

18  Point  Erbar  Bold  Condensed  (18A351)  Lower  case  alphabet,  162  points.  FiKures,  .O'XjS  D aI«I   ft\r%A 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF    ^^^1^ 
How  is  one  to  asseii  and  evaluate  a  type  face  in  terms  of  its  est  12 

Comparison 

24  Point  Erbar  P.old  Condensed  (24A295I  Lower  case  alphabet.  202  points.  l-'iKures.  .1107 

HOW  IS  one  to  assess  and  evaluate  a  type  face  in  te  12     "'  ^'"' 

28  Point  Erbar  Bold  Condensed  (2SA19)  Lower  case  alphabet.  23i  points.  Figures,  .1107 

HOW  IS  one  to  assess  and  evaluate  a  type  fa  12 

34  Point  Erbar  Bold  Condensed  (34A11)  I,ower  case  alphabet.  2.';3  points,  Eiuvires.  .1798 

HOW  IS  one  to  assess  and  evaluate  1 2 

42  Point  Erbar  Bold  Condensed  (42A49)  Lower  case  alphabet,  3C3  points.  Figure  1,  .207^;;  2  to  0,  .2213 

HOW  IS  one  to  assess  and  e  12 

48  Point  Erbar  Bold  C<indensed  (4SA15)  Lower  case  alphabet.  411  points.  Figure  1,  .2352;  2  to  0,  .249 

HOW  IS  one  to  assess  a  1 2 

54  Point  Erbar  Bold  Condensed  (.54A5)  Caps,  figures  and  points  only.  Figure  1.  .249;  2  to  0,  .2906 

HOW  IS  ONE  TO  ASSE 12 

60  Point  Erbar  Bold  Condensed  (60A9)  Caps,  bgures  and  points  only.  Figure  1.  .2906;  2  to  0,  .315 

HOW  IS  ONE  TO  AS  12 

G^^°^LINDTYPE"""'D 

LIST   OF   CHARACTERS    IN   TWO-LETTER    FONTS 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ABCDEFGHIJKLMNOPORSTUVWXYZ& 
12345    abcdefghijklmnopqrstuvwxyz    67890 
12345    ab(defghijklmnopqrstuvwxyz    67890 

$£,..;."?!_|_yE(E«(B         .  .  .()@tb*nil§[r/oV8V4% '72  5/8  3/4% 

$£,.:;."I!_|_/E(E«(B. . .      {)@wmm[]%VsViW/2VBW/8 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&yEd      ABCDEFGHIJKLMHOPaR$TUVWXYZ&/E<I 

special  t-t'o-lcttcr  Small  Caps  available-  as  an  c.rtra 


327 


ERBAR 

Light  with 
Bold  (ond. 

10 


12 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE 
How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace-mak- 
ers in  the  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it  so  superla- 
tively pleasant  to  their  eyes?  Good  design  is  always 
practical  design.  And  what  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fitness  to  per- 
form its  work.  It  has  a  "heft"  and  balance  in  all  of 
its  parts  just  right  for  its  size,  as  any  good  tool  has. 

(two  point  leaded) 

Matrix  Information  :  10A416.  Length  of  lower  case  alphabet 
Will  run  in  90  cliannel  layout.  Code  word,  ZEDAS. 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE 
How  is  one  to  assess  and  evaluate  a  type  fa(e  in 
terms  of  its  estlietic  design!  Why  do  the  pacemak- 
ers  in  the  art  of  printing  rave  over  a  specific  face  of 
type!  What  do  they  see  in  it!  Why  is  it  so  superla- 
tively pleasant  to  their  eyes!  Good  design  is  always 
practical  design.  And  what  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fitness  to  per- 
form its  work.  It  has  a  "heft"  and  balance  in  all  of 
its  parts  just  right  for  its  size,  as  any  good  tool  has. 

(two  point  leaded) 
96  points.  Figures,  .0622;  comma,  period  and  thin  space,  .0311. 


-C-°  LINOTYPE"'"  > 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FA 
How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  design 
is  always  pradical  design.  And  what  they  see  in 
a  good  type  design  is,  partly,  its  excellent  prac- 
tical fitness  to  perform  its  work.  It  has  a  "heft" 

(two  point  haded) 

Matrix  Information:  12A392.  Length  of  lower  case  alphabet 
Will  run  in  90  channel  layout.  Code  word.  ZEDAY. 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FA 
How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design!  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  type!  What  do  they  see  in  it!  Why  is  it  so 
superlatively  pleasant  to  their  eyes!  Good  design 
is  always  practical  design.  And  what  they  see  in 
a  good  type  design  is,  partly,  its  excellent  prac- 
tical fitness  to  perform  its  work.  It  has  a  "heft" 

(two  point  leaded) 
104  points.  Figures,  .0692;  comma,  period  and  thin  space,  .0346. 


-grONOTYPE^ 


14 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  T 
How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design?  Wliy  do 
file  pace-mal(ers  in  the  art  of  printing  rave 
over  a  specific  face  of  type?  What  do  they 
see  in  it?  Why  is  if  so  superlatively  pleas- 
ant to  their  eyes?  Good  design  is  always 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  T 
How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design!  Why  do 
the  pace-makers  in  the  art  of  printing  rave 
over  a  specific  face  of  type!  What  do  they 
see  in  it!  Why  is  it  so  superlatively  pleas- 
ant to  their  eyes!  Good  design  is  always 


(two  point  leaded) 


(two  point  leaded) 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyz 

1234567890($£,.:;'-'?!ni:11§) 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyz 

1234567890($£,.:;'-'!!=ffl§) 


ABCDEFCH I  JKLI^NOPQRSTUVWXYZ&      ABCDEFGHIJKLMNOPQRSTUVWXYZ& 


Special  two-letter  Small 
Matrix  Information :  14A210.  Length  of  lower  case  alphabet, 
Will  run  in  90  channel  layout.  Code  word,  ZEDBE. 


Caps  available  as  an  extra 

123  points.  Figures,  .083;  comma,  period  and  thin  space.  .0415. 


328 


18 


ERBAR 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS    Light  Cond. 

ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTI    

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic 
design?  Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a 
specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively 
pleasant  to  their  eyes?  Good  design  is  always  practical  design.  And 
what  they  see  in  a  good  type  design  is,  partly,  its  excellent  practical 
fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its 
parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair  has 
all  of  its  parts  made  nicely  to  the  right  size  to  1234567890  ($,.:;-'?!) 

ABCDEFGHIJKLMNOPORSTUVWXYZ& 
abcdefghijklmnopqrstuvwxyz 

Matrix  lujoruiation  :  ]8A353.  Length  of  lower  case  alitlialjct.  1  =i.l  points.  Figures.  .QOr.S.  Will  run  in  '.'()  diaiinel  layi-ut.  IS  jmiiit 
standard  alignment.  Smallest  slug  on  which  this  face  will  cast  is  17  p<iint.  Code  word,  ZATED. 


G     LINDTYPE"'<> 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN 
TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MA 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  24 
its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of 
printing  rave  over  a  specific  face  of  type?  What  do  they 
see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes? 
Good  design  is  always  practical  1234567890($,.:;-7!) 

ABCDEFGHIJKLMNOPORSTUVWXYZ& 
abcdefghijklmnopqrstuvwxyz 

Matrix  Inlin-malion:  .MA-''''-  LeiiKlll  "I  I..Hcr  c;i>^c  alplial.ct.   \»'>  points.   l-i«iirps.  .1107.  Will  run  in  'dl  channel  layout.  2A  i)oiiit 
standard  alignment.  Smallest  slug  on  \vlii<h  this  fai.e  will  last  is  12  point.  Code  word.  ZATKK. 


329 


28 


ERBAR 

light  cond.  HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE 

FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY 
How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  pace-makers 
in  the  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  1234567890($,.:;-'?!) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
abcdefghijklmnopqrstuvwxyz 

Matrix  Infornwtioij :  2RA21.  I.enRth  of  lower  case  alphabet.  209  points.  Figures.  .1107.  Will  run  in  90  channel  layout.  28  point 
standard  alignment.  Smallest  slug  un  which  this  face  will  cast  is  26  point.  Code  word.  ZATER. 


G"°LINDTYPE^ 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A 
34  How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design?  Why  do 
the  pace-makers  in  the  art  of  printing  rave 
over  a  specific  face  of  1234567890($,.:;-'?!) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
abcdefghijklmnopqrstuvwxyz 

Matrix  Jujormation :  3A/\\5.  Length  of  lower  case  alpliabet,  2S\  points.  Figures,  .1245.  Will  run  in  72  channel  layout;  also 
lower  case  in  cap  channels  of  90  channel  magazine.  34  pnint  standard  alignment.  Smallest  slug  on  which  tliis  face  will  cast  is 
^2  point.  Code  word,  ZATFE. 


330 


ERBAR 

How  is  one  to  assess  and  evaluate  a  ^-^^^^ 
type  face  in  terms  of  its  esthetic  de-  ^^ 
sign?  Why  do  the  p  abcdefghijkimn 
opqrstuvwxyz  1234567890  ($:;-'?!) 

ABCDEGHJKLMNOPQRSTUVWXZ 

Matrix  Iiifonnatioii  :  42A47.  I.eiiKtli  of  lower  case  alphabet.  30^  iJnints.  Figure  1,  Add;  2  to  0,  .1937.  Will  run  in  72  iliaiinel 
layout;  also  in  34  cliamiel  au.xiliary  niaRazine.  Alignment  is  special,  5^^lallest  slug  on  which  this  face  will  c.tst  is  M,  point  from 
a  36  point  Display  Mold.  Code  word,  ZEKCI, 


■^TRftDE  1^1  ^  DT  YPE  "'""<'^ 


How  can  one  evaluate  a  face  of 
type  in  ttie  terms  of  its  estlietic  ^ 
design?  In  abcdefgtiijklmnopqr 
stuvwxyz  1234567890  ($:;■'?!) 

ABCDEFGIJKLNOQRSTVWXYZ 

Matiix  Jnjorwation:  4HAI7.  I.oiif^tli  of  l<nver  case  alulialu-t.  .Ml  pnints,  l-iRurc  1.  A^^7  \  2  to  0.  .221.1.  Will  run  in  Wide  72 
channel  magazine;  also  lii\\er  case  in  caii  dianncK  ol  72  tliannel  niaKii/me  with  caps  and  tigures  in  Wule  .M  ilianncl  anxiliary 
magazine.  Smallest  slug  on  which  this  laic  will  cast  is  4?  pnint.  (  Ihc  special  45  point  attachment  is  necessary  tu  cast  this 
face.)  Code  word.  ZEMPA. 


330  a 


ERBAR 

Light  Cond. 


HOW  IS  ONE  TO  ASSESS  OR 

'  EVALUATE  A  TYPE  FACE  IN 

THE  TERMS  OF  ITS  DESIGN? 

WHY  DOTH  12345  ($:;-'?!) 

Matrix  Infovwatiou  :  54A3.  Caps,  figures  and  points  only.  Figure  1.  .2213:  2  to  0,  .249.  Will  run  in  Wide  72  channel  magazine; 
also  in  Wide  34  cliannel  auxiliary  magazine.  Smallest  slug  on  which  this  lace  will  cast  is  45  point.  (The  special  45  point 
attachment  is  necessary  to  cast  this  face.)  Code  word,  ZEMRE. 


-^' TRADE  LIN  OTYPE  "'^"'^'^ 


HOW  CAN  A  TYPE  FACE 

'  BE  ASSESSED  IN  A  TERM 

OF  ITS  M  567890  ($:;-'?!) 

ABCDEGJKNPQRSWXYZ 

Matri.r  Infannation:  60A7.  Caps,  figures  and  points  only.  Figure  1.  .235;  2  to  0.  .2767.  Will  run  in  Wide  72  channel  magazine, 
except  figures;  also  in  Wide  34  channel  auxiliary  magazine.  Smallest  slug  on  which  this  face  will  cast  is  45  point.  (The  spe- 
cial 45  point  attachment  is  necessary  to  cast  this  face.)  Code  word,  ZEMUM. 


330  b 


54  Point  Erbar  Light  Condensed  (S4A1039)  Lower  cnse  alphabet.  .'iSl  points,  f'ode  word.  ZAVAR 


ERBAR 

Spring  Suits  And  Topcoats  At  lh 


This  Sale  $24  Each!  l^any  In 
The  Latest  Stripes.  Size  16  Is 


54 


60  Point  Erbar  Light  Condensed  (GnA1039)  Lower  case  alplial)et.  419  points.  Code  wi.rd.  ZAVBI 

Evans'  Moving  &  Storage 
Local,  Long  Distance  And 
Return  Loads  Up  To  A  50 


72  Point  Erbar  Light  Condensed  (72A1039)  Lower  case  alpliabet.  507  points.  Code  word.  ZAVCO 

Fine  Imported  Rug  In 
A  New  Design  At  $56 


72 


All  Purpose  linotype  matrices  are  also  available  in  18,  24,  30,  36,  42  and  48  point  sizes 

331 


ERBAR 

Light  Cond. 

A-P- 


S4  Point  Erbar  Light  Condensed  (84A1039)  Lower  case  alphabet,  700  points.  Code  word,  ZECRU 


;  Country  Sausages 
Stony  Point  Butter 
Fine  Jersey  Ham  31 

96  Point  Erbar  Light  romlenscd  (9fiA10J9)  Lower  case  alphabet,  771  points.  Code  word.  ZECSA 

The  Spring  Hats 
Are  Displayed  In 
Boys'  Section  28 


332 


120  Point  Frh.ir  I  IkIiI  (',„,, Icsi-d  (UnAlO.W)  Lower  lase  alplial.et.  91.!  points.  Cixlp  u.,r,l,  ZI-.C'li; 

The  Only  Play 
Showing  A 16 


ERBAR 

Light  Cond. 

A-P-L 

120 


144  Point  Kriiar  T.iRlit  (■..ndensed  (I44AKW9)  I.nwer  case  alplialiet.  10-4  points.  (\)<k>  wonl.  ZECVI 

Navy  Starts 
May  23  For 


144 


333 


18 


ERBAR 

Bold  (ond.   HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF 

ITS  ESTHETIC  DESIGN!  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic 
design!  Why  do  the  pace-makers  in  the  art  of  printing  rave  over 
a  specific  face  of  type!  What  do  they  see  in  it!  Why  is  it  so  super- 
latively pleasant  to  their  eyes!  Good  design  is  always  practical 
design.  And  what  they  see  in  a  good  type  design  is,  partly,  its 
excellent  practical  fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has. 
Your  good  chair  has  all  of  its  parts  made  ni  1234567890($,.:;-'!!) 

ABCDEFGHIJKLMNOPORSTUVWXYZ& 
abcdefghijklmnopqrstuvwxyz 

Matrix  Information:  18A351.  Length  of  lower  case  alphabet,  162  points.  Figures,  .0968.  Will  run  in  90  channel  layout.  18  point 
standard  alignment.  Smallest  slug  on  which  this  face  will  cast  is  17  point.  Code  word,  ZAHSA. 


-^traoeH^QTYPEmark>^ 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE 
IN  TERMS  OF  ITS  ESTHETIC  DESIGN!  WHY  DO  THE  PA 
24  How  is  one  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design!  Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  of  type!  What 
do  they  see  in  it!  Why  is  it  so  superlatively  pleasant 
to  their  eyes!  Good  design  is  al  1234567890($,.:r'!!) 

ABCDEFGHIJKLMNOPORSTUVWXYZ& 
abcdefghijidmnopqrstuvwxyi 

Matrix  Information:  24A295.  Length  of  lower  case  alphabet,  202  points.  Figures,  .1107.  Will  run  in  90  channel  layout.  24  point 
standard  alignment.  Smallest  slug  on  which  this  face  will  cast  is  22  point.  Code  word,  ZAHTE. 


334 


ERBAR 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TY  E!!!^ 

FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN!  WHY  ^g 

How  Is  one  to  assess  and  evaluate  a  type  face 

In  terms  of  its  esthetic  design!  Why  do  the 

pace-makers  in  the  art  of  printing  rave  over 

a  specific  face  of  type!  W  1234567890($,.:;-'!!) 

ABCDEFGHIJKLMNOPQRSTUYWXYZ& 
abcdefghijklmnopqrstuvwxyz 

Matrix  Information:  2S,/^\9.  Length  of  lower  case  alpliabet.  233  points.  Figures.  .1107.  Will  run  in  90  chaiint-l  layout.  2S  point 
standar<i  alignment.  Smallest  slug  on  which  this  {ace  will  cast  is  26  point.  Code  word,  ZAIIX'C. 


-^ TRADE  ^1  ^  DTYPE  >"^''>^^ 


HOW  IS  ONE  TO  ASSESS  AND  EYALU 
How  is  one  to  assess  and  evaluate  a  34 
type  face  In  the  terms  of  Its  esthetic 
design!  Why  do  the  pace-makers  in 
the  art  of  print  1234567890($,.:;-'n) 

ABCDEFGHIJKLMNOPQRSTUYWXYZ& 
abcdefghijklmnopqrstuvwxyz 

Matrix  htloi  Illation:  34A11-  l.<iit^tli  ..l  U.wcr  i;csi'  aliilial)ft,  .:M  r'"iiits.  I-i;;uifs.  .  1 7yx.  Will  nm  in  7:  iliaimcl  Inyoul ;  also 
lower  case  in  cap  channels  ui  ')»  iliannpl  niaga/inc.  .U  point  slandanl  alivnnunl.  Smallest  sIuk  nn  uliicli  this  face  will  cast  is 
32  point.  Code  word.  ZAIIL'J. 


335 


ERBAR 

Bold  Cond. 


How  is  one  to  assess  and  eval- 
^^  uate  a  type  face  in  terms  of  its 
esthetic  abcdefgliijidmnopqrs 
tuYwxyz  1234567890  ($:;-'!!) 
ABCDEGJKMNOPQRSTVWXZ 

Matrix  Infonnafjoii :  42A49.  Length  of  lower  case  alphabet,  365  points.  Figure  1.  .2076;  2  to  0.  .2213.  Will  run  in  Wide  72  chan- 
nel magazine:  also  lower  case  in  cap  channels  of  72  channel  magazine  with  caps  and  figures  in  Wide  34  channel  auxiliary  maga- 
zine. Alignment  is  special.  Smallest  slug  on  which  this  face  will  cast  is  36  point  from  a  36  point  Display  Mold.  Code  word. 
ZEKVE. 


48 


-^TRADE^I^OTYPE'^'^'"^^ 


How  can  one  assess  a  face 
of  fype  in  forms  of  estJrefic 
r  abcdefgtiijidmnopqrsfuv 
wxyz1234567890($:;-'!!) 

ABCDEGJKLMNIHUTUXYZ 

Matrix  Information  :  48A15.  Length  of  lower  case  alphabet,  411  points.  Figure  1,  .2352;  2  to  0.  .249.  Will  run  in  Wide  72  chan- 
nel magazine;  also  lower  case,  except  ni.  in  cap  channels  of  72  channel  magazine  with  caps  and  figures  in  Wide  34  channel 
auxiliary  magazine.  Smallest  slug  on  which  this  lace  will  cast  is  45  point.  (The  special  45  point  attachment  is  necessary  to 
cast  this  face.)  Code  word.  ZEMNU. 

Matrix  Information :  48A19.  Caps,  figures  and  points  only.  Figure  1,  2351;  2  to  0,  .2629.  Smallest  slug  on  which  this  face  will 
cast  is  36  point  from  a  36  point  Display  ^lold.  Code  word,  ZENZL 


335  a 


HOW  IS  ONE  TO  ASSESS 
AND  EVALUATE  A  TYPE 
FACE  IN  A  TERM  OF  THE 
FINE  AN  12345  ($:;-'!!) 

Matrix  Injonuatiou :  MA5.  Caps,  figures  and  points  only.  Figure  1.  .249;  2  to  0.  .2906.  Will  run  in  Wide  72  channel  magazine, 
except  figures;  also  in  Wide  34  channel  auxiliary  magazine.  Smallest  slug  on  which  this  face  will  cast  is  45  point.  (The  spe- 
cial 45  point  attachment  is  necessary  to  cast  this  face.)  (-'nde  word.  ZEMSI. 


-^MRADE  LI  N  DTYPE  "'""<'^ 


HOW  IS  A  TYPE  FACE 
TO  BE  EVALUATED  IN 
TERM  67890  ($:;-'!!) 

ABCDEFGIJKMPGXYZ 

Matrix  Uifiuituiti.ni :  6()A9.  Caps.  fiKUres  and  pninis  niily.  FiKurc  1,  .2906:  2  to  0.  ..115.  Will  niii  in  Wide  .U  channel  auxiliary 
maKa'ine.  Smallest  sUii;  mi  «1ik1i  this  (ace  will  cast  is  -t.i  puiiit.  (The  special  4.i  pcniit  attachment  is  necessary  to  cast  this 
face.)  Code  word.  ZKMCT. 


ERBAR 

Bold  Cond. 

54 


60 


335  b 


S4  Point  Erbar  Bold  Condensed  (54A]029)  Lower  case  alphabet.  454  points.  Code  word.  ZATTI 


ERBAR 

kB  Many  People  To  Attend 


54 


60 


72 


Dinner  For  Charity  Fund 
On  February  26  For  The 

60  Point  Erbar  Bold  Condensed  (50A1029)  Lower  case  alphabet,  504  points.  Code  word.  ZATUB 

Brown  Sports  Jackets! 
For  Tills  Sale  Only,  $4 
All  Have  Wool  Lining 

72  Toinl  Erbar  Bold  Condensed  (72A1029)  Lower  case  alphabet,  602  points.  Code  word.  ZATUH 

Our  Spring  Sale  Of 
China  Sill(  Slips  $3 


All-Purpose  Linotype  matrites  are  also  available  in  18,  24, 30, 36, 42  and  48  point  sizes 

336 


84  Point  Erbar  Bold  Condensed  (84A1029)  Lower  case  alphabet.  825  points.  Code  word.  ZEBUH 

Queens  County 
Fresh  Eggs  And 
Baby  Chicks  27 

%  Point  Erbar  Bold  Condensed  (9GA1029)  Lower  case  alphabet.  929  points.  Code  word.  ZEBUN 

Last  31  Days! 
Gigantic  Sale 
Fine  Rugs  84 


ERBAR 

Bold  Cond. 

A-P-L 

84 


96 


337 


ER6AR 

Bold  (ond. 

A-P-L 
120 


120  Point  Erbar  Bold  Condensed  (120A1029)  Lower  case  alphabet.  1090  points.  Code  word.  ZEBUV 

Red  Eating 
Apples  126 


144 


144  Point  Erbar  Bold  Condensed  (144A1029)  Lower  case  alphabet,  1254  points.  Code  word,  ZEBYE 

Netting  8 
For  Many 


338 


A   DISTINGUISHED   LINOTYPE    BOOK   FACE 

ESTIENNE 


Linotype  Estienne  is  another  distinguished  book  face  created 
by  Mr.  George  W.  Jones,  the  eminent  English  printer  and 
designer  of  Granjon.  Like  Gran)on  it  is  an  exclusive  Linotype 
face  available  in  no  other  form.  It  was  named  in  honor  of  the 
distinguished  sixteenth  century  printing  family  whose  work 
IS  cherished  by  posterity.  Typographers  and  printers  will 
be  particularly  interested  in  the  notably  new  type  texture 
Estienne  provides — a  distinctive,  wholly  charming  pattern 
and  appearance  when  set  in  mass  form  that  is  unlike  that  of 
any  other  face.  Estienne  capitals  are  compellingly  attractive, 
possessing  a  dignity  and  beauty  seldom  approached  by  pres- 
ent day  book  faces.  The  limpid,  flowing  grace  and  charm 
of  the  lower-case  letters  with  their  tall  ascenders  and  lone 
descenders  makes  reading  easy,  even  without  leading. 
Available  in  six  sizes,  from  8  to  i8  point,  inclusive. 


MERGENTHALEK    LINOTVPU   COMPANY,    BROOKLYN,    N.  Y.,   CHICAGO,    SAN    FRANCISCO,    NEW  ORLEANS 
CANADIAN   LINOTYPE,    LIMITED,  TORONTO.    REPRESENTATIVES    IN   THE    PRINCIPAL   CITIES    OF   THE    WORLD 


QOMTATllSO'N  OF  SIZES 

8  Point  (8AA18)  Lower  case  alphabet.  98  points.  Figures.  .0553 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&QLJ  abcdefghijklmnopqrstuvwxyz&  abcdefghijklmno 
pqrstuvwxyzfififfffifflQiiaiT:  1234567890  ($£,.:;'-'?!)    *tt11§[] 

ABCDEFCHIIk'LMNOPQRSTUVWXYZ&QU  abcdefghtjklmnopqrstiiuwxyzfiflffffifflQudn  723456 
7890  ($£..:;■-'?!)  tt^§[] 
10  Point  (lOA'fSO)  Lower  case  alphabet.  114  points.  Figures.  .0522 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&QUABCDEFGHijKLMNOPQRSTuvwxYz&ab 
cdefghijklmnopqrstuvwxyzfiHffffifflQudift  1234567890  (|£,.: ;'-'.?!)  *tl1I§[] 
ABCDEFCHIJKLMNOPQRSTUVWXYZ&QU  abcdefghijklmnopqrstuvwxyzfiflffffi 
fflQuan  12^^^67890  ($£..:;'-'?!)  ttll§[] 

12  Point  (12A980)  Lower  case  alphabet.  126  points.  Figures.  .0692 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&QUabcdefghijklmnopqrstu 

vwxYZ&abcdefghijklmnopqrstuvwxyzfiflffffifflQud:^  1234567890  ($£,-:;'-' 

?!)*n§ii[] 

ABCDEFGHIfKLMNOPQRSTUVWXYZ&QU  ahcdefghijklmnopqrstHv 
wxyzfiflffffifflQu^n  12^45678^)0  ($£,.:;'-'?!)  tl§1j  [] 

14  Point  (14A'-'41)  Lower  case  alphabet.  143  points.  Figures,  .083 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&QUabcdefghijklmn 
OPQRSTUVWXYZ&:  abcdefghijklmnopqrstuvwxyzfiflffffifflQudift   ^^34 

56789o($£,.:;V!?)*t:il§G 

ABCDEFGHIJKLAINOPQRSTUVWXYZ&QU  abcdefghijklmno 
pqrstHvwxyzfiflffffifflQuan  12^^567890  ($£,.:;'-!?)  U^^i] 

16  Point  (16A9'42)  Lower  case  alphabet.  157  points.  Figure  1.  .0695;  2  to  0.  .1107 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&abcdefghijkl 

mnopqrstuvwxyzfiflffffifflcftft  iz^/^'^S'iSoo  ($,.:;'-?\^ 

18  Point  (18A35S)  Lower  c.ise  alphabet.  168  points.  Figure  1.  .083;  2  to  0,  .12-45 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&abcdefg 

hijklmnopqrstuvwxyzfiflffffiffld:fb  1 2 ^ zj.^ 6 y  8 q o  ($,.:;'-'? ! 


-(^^TiNQfYPE^ 


SWASH    CAPITALS    AND    FINIAL    LETTERS 

ONE-  AND  TWO-LETTER    LOGOTYPES 

fa  fe  fo  fr  fs  ft  fu  fy  ffa  ffe  fFo  ffr  ffs  ffu  ffy  f  f  f  ff  ff  fF-  f  ff 
fa  fe  fo  fr  fs  ft  fu  fy  fa  fe  fo  fr  fs  fufyffffffff 
E  R  Ta  Te  To  Tr  Tu  Tw  Ty  T  Va  Ve  Vo  V  Wa  We  Wo  Wr  W  Ya  Ye  Yo  Y 
E  P.  Ta  Te  To  Tr  Ta  Tw  Ty  T  Va  Ve  Vo  V.  Wa  We  Wo  Wr  W.  Ya  Ye  Yo  Y. 
FA  PA  TA  VA   WA  YA  Th   Wh   Wi 

MODERNIZED    FIGURES 

1234567890         /  2  34567  890 

Made  in  8,  10  and  12  poi?it  sizes,  and  will  be  substituted  for  those  regularly 
furnished  with  a  font,  if  so  ordered,  or  they  may  be  added  as  an  extra 


340 


EIGHT    POINT 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN? 
WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  OF 

HOW   IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS   ESTHETIC  DESIGN?    WHY   DO  THE  PACE- 


How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace-mak- 
ers in  the  art  of  prmting  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it  so  superla- 
tively pleasant  to  their  eyes?  Good  design  is  always 
practical  design.  And  what  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fitness  to  per- 
form Its  work.  It  has  a  "heft"  and  balance  in  all  of 
Its  parts  just  right  for  its  size,  as  any  good  tool  has. 
Your  good  chair  has  all  of  its  parts  made  nicely  to 
the  right  size  to  do  exactly  the  work  that  the  chair 
has  to  do  — neither  clumsy  and  thick,  nor  "skinny" 
and  weak  — no  waste  of  material  and  no  lack  of 
strength.  And,  beyond  that,  the  chair  may  have 
been  made  by  a  man  who  worked  out  in  it  his  sense 
of  fine  shapes  and  curves  and  proportions  — it  may 
be,  actually,  a  work  of  art.  The  same  thing  holds  for 
shapes  of  letters.  And  your  chair,  or  your  letter  (if 
a  true  artist  made  it)  will  have  besides  its  good 
looks,  a  suitability  to  the  »th  degree  to  be  sat  in,  or 
stamped  on  paper  and  read.  That  explains,  in  a  wav, 
why  the  experts  rave  over  the  fine  shapes  of  letters; 
but  it  fails  to  explain  wherein  the  shapes  are  fine.  If 


you  seek  to  go  further  with  the  inquiry,  theories 
will  be  your  only  answer.  Here  is  a  theory  that  the 
proponent  thinks  may  have  sense  in  it;  Fine  type 
letters  were,  in  the  first  place,  copies  of  fine  written 
letters.  Fine  written  letters  were  fine  because  they 
were  produced  m  the  most  direct  and  simple  way  by 
a  tool  in  the  hands  of  a  person  expert  in  its  use  — by 
a  person,  moreover,  who  was  an  artist  [i.e.,  a  per- 
son equipped  to  make  sound  judgments  about  lines, 
curves,  proportions,  etc.)  .  The  artist  of  that  mo- 
ment when  printing  was  invented  who  furnished 
the  fine  written  patterns  for  type  was  (luckily  for 
printing)  working  at  the  top  notch  of  a  fine  tradi- 
tion of  calligraphy.  He  was  making  sound  judg- 
ments about  lines  and  curves  and  proportions  of  let- 
ters. He  had  resurrected  an  ancient  distinguished 
style  of  writing  and  had  added  to  it  the  quality  of 
his  own  fine  taste.  His  letters  flowed  from  his  pen 
easily  and  simply,  without  any  tricks  or  affectations 
or  extraneous  embellishments.  He  was  simple 
enough  and  artist  enough  to  let  the  implement  it- 
self (and  his  facile  hand)  shape  the  product.  The 
fine  qualities  of  this  artist's  letter-forms  were  carried 


(solid) 


TEN    POINT 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS 
ESTHETIC  DESIGN.?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?   WHY  DO 


How  IS  one  to  assess  and  evaluate  a  type  face 
in  terms  of  its  esthetic  design.?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  a 
specific  face  of  type.?  What  do  they  see  in  it? 
Why  IS  It  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design  is, 
partly,  its  excellent  practical  fitness  to  per- 
form Its  work.  It  has  a  "heft"  and  balance  in 
all  of  Its  parts  jiist  right  for  its  size  as  any 
good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  tiicely  to  the  right  size  to  do  ex- 
actly the  work  that  the  chair  has  to  do  — 
neither  clumsy  and  thick,  nor  "skinny"  and 
weak  — no  waste  of  material  and  no  lack  of 
strength.  And,  beyond  that,  the  chair  may 
have  been  made  by  a  man  who  worked  out  in 
It  his  sense  of  fine  shapes  and  curves  and  pro- 


portions—it  may  be,  actually,  a  work  of  art. 
The  same  thing  holds  for  shapes  of  letters. 
And  your  chair,  or  your  letter  (if  a  true  artist 
made  it)  will  have,  besides  its  good  looks,  a 
suitability  to  the  nth  degree  to  be  sat  in,  or 
stamped  on  paper  and  read.  That  explains,  in 
a  way,  why  the  experts  rave  over  the  fine 
shapes  of  letters;  but  it  fails  to  explain  where- 
in the  shapes  are  fine.  If  you  seek  to  go  fur- 
ther with  the  inquiry,  theories  will  be  your 
only  answer.  Here  is  a  theory  that  the  propo- 
nent thinks  may  have  sense  in  it :  Fine  type 
letters  were,  in  the  first  place,  copies  of  fine 
written  letters.  Fine  written  letters  were  fine 
because  they  were  produced  in  the  most 
direct  and  simple  way  by  a  tool  in  the  hands 
of  a  person  expert  in  its  use  — by  a  person, 
moreover,  who  was  an  artist  (/.f.,  a  person 


(solid) 


Matrix  Injorniation:  8AA18.  Length  of  lower  case  alphabet, 
98  points.  Si/.c  of  figures.  .055J;  comma,  period  and  thin 
space.  .0277:  liKiire  space.  .0553.  Will  run  iti  9tl  channel 
layout.    Ali^'innent    7    point    standard.    Code   word.    ZAD\*A. 


Matrix  Inlormation:  10A480.  Length  of  lower  case  alphabet, 
114  points.  Size  of  figures,  ,0622;  comma,  period  and  thin 
space.  .0.?n;  figure  space.  .0G2J.  Will  run  in  90  channel 
layout.    Alignment    [)    point    staiulanl.    Code    word.    Z.ACKO. 


341 


TWELVE    POINT 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS 
OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN? 

How  IS  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do 
the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they 
see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  prac- 
tical design.  And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent  practical 
fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right 
size  to  do  exactly  the  work  that  the  chair  has  to  do — neither  clumsy  and  thick,  nor 
"skinny"  and  weak  —  no  waste  of  material  and  no  lack  of  strength.  And,  beyond  that, 
the  chair  may  have  been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes 
and  curves  and  proportions  —  it  may  be,  actually,  a  work  of  art.  The  same  thing  holds 
for  shapes  of  letters.  And  your  chair,  or  your  letter  (if  a  true  artist  made  it)  will  have, 
besides  its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped  on  paper 
and  read.  That  explains,  in  a  way,  why  the  experts  rave  over  the  fine  shapes  of  letters; 
but  It  fails  to  explain  wherein  the  shapes  are  fine.  If  you  seek  to  go  further  with  the 
inquiry,  theories  will  be  your  only  answer.  Here  is  a  theory  that  the  proponent  thinks 
may  have  sense  in  it:  Fine  type  letters  were,  in  the  first  place,  copies  of  fine  written 
letters.  Fine  written  letters  were  fine  because  they  were  produced  in  the  most  direct  and 
simple  way  by  a  tool  in  the  hands  of  a  person  expert  in  its  use  —  by  a  person,  moreover, 
who  was  an  artist  (i.e.,  a  person  equipped  to  make  sound  judgments  about  lines, 
curves,  proportions,  etc.).  The  artist  of  that  moment  when  printing  was  invented  who 
furnished  the  fine  written  patterns  for  type  was  (luckily  for  printing)  working  at  the 
top  notch  of  a  fine  tradition  of  calligraphy.  He  was  making  sound  judgments  about 
lines  and  curves  and  proportions  of  letters.  He  had  resurrected  an  ancient  distinguished 
style  of  writing  and  had  added  to  it  the  quality  of  his  own  fine  taste.  His  letters  flowed 
from  his  pen  easily  and  simply,  without  any  tricks  or  affectations  or  extraneous  embel- 
lishments. He  was  simple  enough  and  artist  enough  to  let  the  implement  itself  (and 
his  facile  hand)  shape  the  product.  The  fine  qualities  of  this  artist's  letter-forms  were 
carried  over  into  the  metal  types  and  sealed  up  there  like  butterflies  in  amber.  It  is 
argued,  however,  that  the  ascription  of  beauty  to  type  letters  by  this  route  (i.e.,  via  the 
standards  of  calligraphy)  is  false  logic.  If  the  natural  and  simple  and  tastefully  con- 
trolled use  of  an  implement  produces  a  fine  result,  why  not  start  with  the  process  of 
founding  type  instead  of  with  the  process  of  writing  with  a  pen?  Why  not  cut  punches 
and  strike  matrices  and  cast  type  metal  simply  and  naturally  and  tastefully,  and  make 
types  that  reflect  a  suitable  artistic  use  of  the  process  of  typefounding?  I  think  that  the 
argument  is  esthetically  sound.  There  is  no  common  opinion  about  the  legibility  or 
grace  or  vigor  of  various  type  faces  that  can  be  quoted  as  authority.  One  man's  opinion 
IS  as  good  as  another's.  Each  commentator  has  his  own  pet  designs  and  his  own  reasons 

(solid) 


Matrix  hijormation :  12A980.    Length   of   lower   case   alphabet,    126   points.    Size  of  figures, 
.0692;  comma,  period  and  thin  space,  .0415;  figure  space,  .0692.  Will  run  in  90  channel  lay- 
out. Alignment  11  point  standard.  Code  word,  ZUFO, 


342 


FOURTHPN    POINT 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN 
TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MA 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC 

How  IS  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  m  the  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design.  And  what  they  see  in  a  good 
type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has 
a  "heft"  and  balance  in  all  of  its  parts  )ust  right  for  its  size,  as  any  good  tool 
has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do 
exactly  the  work  that  the  chair  has  to  do — neither  clumsy  and  thick,  nor 
"skinny"  and  weak  —  no  waste  of  material  and  no  lack  of  strength.  And,  be- 
yond that,  the  chair  may  have  been  made  by  a  man  who  worked  out  in  it  his 
sense  of  fine  shapes  and  curves  and  proportions — it  may  be,  actually,  a  work 
of  art.  The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  let- 
ter (if  a  true  artist  made  it)  will  have,  besides  its  good  looks,  a  suitability  to 
the  ;7th  degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That  explains,  in  a 
way,  why  the  experts  rave  over  the  fine  shapes  of  letters;  but  it  fails  to  explain 
wherein  the  shapes  are  fine.  If  you  seek  to  go  further  with  the  inquiry,  theo- 
ries will  be  your  only  answer.  Here  is  a  theory  that  the  proponent  thinks  may 
have  sense  in  it:  Fine  type  letters  were,  in  the  first  place,  copies  of  fine  written 
letters.  Fine  written  letters  were  fine  because  they  were  produced  in  the  most 
direct  and  simple  way  by  a  tool  in  the  hands  of  a  person  expert  in  its  use  —  by 
a  person,  moreover,  who  was  an  artist  (/.£".,  a  person  equipped  to  make  sound 
judgments  about  lines,  curves,  proportions,  etc.).  The  artist  of  that  moment 
when  printing  was  invented  who  furnished  the  fine  written  patterns  for  type 
was  (luckily  for  printing)  working  at  the  top  notch  of  a  fine  tradition  of  cal- 
ligraphy. He  was  making  sound  judgments  about  lines  and  curves  and  pro- 
portions of  letters.  He  had  resurrected  an  ancient  distinguished  style  of  writ- 
ing and  had  added  to  it  the  quality  of  his  own  fine  taste.  His  letters  flowed 
from  his  pen  easily  and  simply,  without  any  tricks  or  affectations  or  extrane- 
ous embellishments.  He  was  simple  enough  and  artist  enough  to  let  the  im- 
plement Itself  (and  his  facile  hand)  shape  the  product.  The  fine  qualities  of 
this  artist's  letter-forms  were  carrieci  over  into  the  metal  types  and  sealed  up 

(solid) 


Matrix  Information :   I4A941.   Length  of  lower  case  alphabet,    143  points.   Size  of  figures. 

,083;  comma,  period  and  thin  space,  .04.'<4;  figure  space.  .083.  Will  run  in  90  channel  layout. 

Alignment  is  approximately  IJ  point  stantlard.  Code  word.  Zl't^E. 


343 


SIXTEEN    POINT 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE 
FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO 
How  IS  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic 
design?  Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a 
specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively 
pleasant  to  their  eyes?  Good  design  is  aWays  practical  design.  And 
what  they  see  in  a  good  type  design  is,  partly,  its  excellent  practical  fit- 
ness to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts 
lust  rio-ht  for  its  size,  as  any  good  tool  has.  Your  o-ood  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair 
has  to  do — neither  clumsy  and  thick,  nor  "skinny"  and  weak — no 
waste  of  material  and  no  lack  of  strength.  And,  beyond  that,  the  chair 
may  have  been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine 
shapes  and  curves  and  proportions — it  may  be,  actually,  a  work  of  art. 
The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  let- 
ter (ifa  true  artist  made  it)  will  have,  besides  Its  good  looks,  asuitabikty 
to  the  nth  degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That  ex- 
plains, in  a  way,  why  the  experts  rave  over  the  fine  shapes  of  letters;  but 
It  fails  to  explain  wherein  the  shapes  are  fine.  If  you  seek  to  go  further 
with  the  inquiry,  theories  will  be  your  only  answer.  Here  is  a  theory 
that  the  proponent  thinks  may  have  sense  in  it:  Fine  type  letters  were, 
in  the  first  place,  copies  of  fine  wruten  letters.  Fine  written  letters  were 
fine  because  they  were  produced  in  the  most  direct  and  simple  way  by  a 
tool  in  the  hands  of  a  person  expert  in  its  use — by  a  person,  moreover, 
who  was  an  artist  (i.e.,  a  person  equipped  to  make  sound  judgments 
about  hnes,  curves,  proporcions,  etc.).  The  artist  of  that  moment 
when  printing  was  invented  who  furnished  the  fine  written  patterns  for 
type  was  (luckily  for  printing)  working  at  the  top  notch  of  a  fine  tradi- 
tion of  calligraphy.  He  was  making  sound  judgments  about  lines  and 
curves  and  proportions  of  letters.  He  had  resurrected  an  ancient  distin- 

(solid) 


344 


Matrix  Information:  16A942.  Length  of  lower  case  alphabet,   157  points.   Size  of  figure  1, 

.0695;  2  to  0,  .1107;  coninia,  period  and  thin  space,  .0553;  figure  space,  .1107.  Will  run  in  90 

channel  layout.  Alignment  14  point  standard.  Code  word,  ZUHI. 


EIGHTEEN    POINT 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TY 
PE  EACE  IN  TERMS  OE  ITS  ESTHETIC  DESIGN? 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic 
design?  Why  do  the  pace-makers  m  the  art  of  printing  rave  over  a 
specific  face  of  type?  What  do  they  see  m  it?  Why  is  it  so  super- 
latively pleasant  to  their  eyes?  Good  design  is  always  practical 
desi2;n.  And  what  they  see  m  a  o^ood  type  design  is,  partly,  its 
excellent  practical  fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  m  all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has. 
Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to 
do  exactly  the  work  that  the  chair  has  to  do — neither  clumsy  and 
thick,  nor  "skinny"  and  weak — no  waste  of  material  and  no  lack 
of  strength.  And,  beyond  that,  the  chair  may  have  been  made  bv 
a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and  curves  and 
proportions — it  may  be,  actually,  a  work  of  art.  The  same  thing 
holds  for  shapes  of  letters.  And  your  chair,  or  your  letter  (if  a  true 
artist  made  it)  will  have,  besides  its  good  looks,  a  suitability  to  the 
nth  degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That  ex- 
plains, in  a  way,  why  the  experts  rave  over  the  fine  shapes  of  let- 
ters; but  It  fails  to  explain  wherein  the  shapes  are  fine.  If  you  seek 
to  go  further  with  the  inquiry,  theories  will  be  your  only  answer. 
Here  is  a  theory  that  the  proponent  thinks  may  have  sense  in  it: 
Eine  type  letters  were,  in  the  first  place,  copies  of  fine  written  let- 
ters. Erne  written  letters  were  fine  because  they  were  produced  in 
the  most  direct  and  simple  way  by  a  tool  in  the  hands  of  a  person 
expert  in  its  use — by  a  person,  moreover,  who  was  an  artist  (i.e.,  a 
person  equipped  to  make  sound  judgments  about  lines,  curves. 


(solid) 


Matrix  Injormation:  18A355.  I.eiiKth  of  lower  case  alphabet.  168  points.  Size  of  figure  1, 
.OBJ:  2  to  0.  .1245;  comma,  period  and  thin  space.  .0622;  fiKure  space.  .1245.  Will  rnn  in  90 
channel  layout,  except  Cap  \V  and  figures.  Alignment  16  point  standard.  Code  word.  Zl'IP, 


345 


^RECOLLECTIONS  OF  O^CAR  WILDE: 
CHAPTER  THE  FIRST 

It  was  on  the  terrace  of  a  small  hotel  near  Tunis,  over- 
looking a  garden  sloping  to  the  sea,  where  china  roses  and 
geraniums  struggled  against  the  sand,  that  I  chanced  to 
meet  an  elderly  Englishman  who,  years  ago,  had  known 
Oscar  Wilde.  The  hour  was  late,  and  his  reminiscences 
lasted  well  into  the  nio-ht.  In  a  low  and  indistinct  voice  he 
described  the  Irish  author  as  a  rare  personality  not  to  be 
measured  by  his  actual  works,  for  his  career  as  a  man  of 
letters,  cut  short  by  tragedy,  represents  the  intermittent 
effort  of  a  few  years  only.  "  Wilde  did  not  live  to  give  us 
the  full  measure  of  his  talent,  and  what  he  wrote  was  done 
in  a  country  which,  from  the  first,  was  hostile  to  his  cast 

of  thought." 
o 

I  interrupted  "  Surely  his  wit  was  appreciated?" 

The  reply  was  immediate.  "  Modern  Englishmen  dis- 

hke  wit,  rarely  understand  it,  or,  if  they  do,  become 

distrustful  and  suspicious.  To  be  witty  is  to  be  found  out." 

He  smiled  and  added  "  Our  humour,  which  you  French- 


The  page  at  the  left 
has  been  reset  from  th 
Nonesuch  Press 
Recollections  of  Oscar 
Wilde,  typography 
by  Francis  Meywell, 
printed  in  England 
by  George  W.  Jones 
at  The  Dolphin  Press. 
is  in  1 6  point  Estienne 
The  ornament 
has  been  changed 
from  the  original. 

The  page  below  is 
set  in  14  point 
Estienne  italic,  with 
swash  capitals 
and  finials. 


men  hn 
or  mask 
related  t 
from  fea 
wit  was  s 
ing."M 
.  .  .  ther 
and  Eng 
under  st 
town-br 


with  the  introduction  of  TDevanagari  Linotype  the  CMergen- 
thaler  Linotype  Company  presents  another  advance  in  print- 
ing by  adding  a  new  group  of  Oriental  languages  to  its  Lino- 
type family  of  international  languages. 

Although  T)evanagari  contains  only  forty-nine  letters,  it^^ 
employs,  through  combination  of  consonants  with  vowels  or 
other  consonants,  nearly  joo  different  printing  characters 
and  a  complicated  system  of  typesetting  in  which,  in  many 
places,  two  or  three  pieces  of  type  are  placed  one  above  the 
other  in  composing  a  single  line.  These  peculiarities  have 
offered  many  insurmountable  difficulties  in  adaptation  to 
machine  composition. 

^ylfter  considerable  research  and  experiment,  a  new  system 
invented  by  <JMr.  Hari  G.  Covil,  and  perfected  in  collabora- 
tion with  experts  of  the  C^iergenthaler  Linotype  Qompany, 
makes  Devanagari  available  on  the  Linotype  for  machine^ 


I  t     T     ■ 


EXCELSIOR 


IjINOTYPE  excelsior  is 
the  result  of  years  of  experience  in  designing  exceptionally 
readable  plain  types.  It  has  deep,  generously  proportioned 
counters,  and  no  extreme  variation  in  thick  and  thin  strokes. 
Each  word  is  instantly  grasped  by  the  reader,  because  Ex- 
celsior letters  "flow"  into  one  another — the  characters  are  so 
well  fitted,  and  the  distribution  of  white  space  is  so  uniform 
within  and  around  each  character,  that  the  letters  readily 
group  into  words  and  provide  maximum  reading  ease. 

The  valuable  subtleties  of  character  visibility,  evolved  in 
studying  hundreds  of  existing  faces,  have  been  incorporated 
into  Excelsior  letter  design.  Excelsior  capitals  are  sturdy  and 
well  proportioned  in  relation  to  the  lower  case.  The  italic  is 
not  "skimpy,"  as  in  many  faces,  but  is  clear  and  compact — a 
fat  mate  for  the  legible  roman. 

You  will  find  Excelsior  useful  in  combination  with  old  style 
or  modern  display  faces,  as  well  as  with  the  newer  flat  serif  and 
sans  serif  types  such  as  the  Memphis  and  Metro.  It  is  equally 
at  home  in  book  or  commercial  work— any  place  an  exception- 
ally readable  type  is  desired. 

Excelsior  is  available  in  eleven  sizes  in  combination  with 
italic  and  small  caps,  from  5V2  point  to  14  point.  For  other  re- 
quirements, where  a  bold  face  is  needed,  Excelsior  is  available 
in  combination  with  Bold  Face  No.  2  in  thirteen  sizes,  from  5 
point  to  14  point,  and,  in  combination  with  Gothic  No.  3,  in  six 
sizes,  from  5  point  to  8  point. 


TRADE 


LINOTYPE 


MARK* 


mERGEXTHALER  LII\OTYPE  COMPA]\Y 

BROOKLYN,  N.  Y.,   CHICAGO,  SAN  FRANCISCO,  NEW  ORLEANS 

CANADIAN    LINOTYPE,    LIMITED,  TORONTO,    CANADA 

Representatives  in  the  Principal  Cities  0/  the  World 


C0MPARIS01\    OF    SIZES 


Excelsior  with  Italic  and  Small  Caps 

S'/i  Point  (5!-iA50)  Lmver  case  alphabet.  100  puiius.  Figures,  .046  or  .050 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  vbcd 

G  Piiint  (6A3-0)  Lower  case  alphabet.  107  points.  Figures,  .0484 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN? 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-ma  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN? 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-ma  vbcd 

7  ruiut  Xn.  2  (7A142)  Lower  case  alphabet.  115  points.  Figures,  .0553 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  D 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pa  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  D 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pa  vbcd 

7  Point  No.  1  (7A140)  Lower  case  alphabet.  118  points.  Figures.  .0553 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  vbcd 

7'2  Point  l7;.'A8)  Lower  case  alphabet.  1J3  points.  Figures,  .0622 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHE 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHE 
How  is  one  to  assess  ayid  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  vbcd 

8  Point  \o.  2  (.«A444i  LMwer  rase  alphabet.  123  points.  Figures.  .0622 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHE 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHE 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  vbcd 

8  Point  No.  1  (8A432)  Lower  c.nse  alphabet,  126  points.  Figures.  .0622 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  EST 
How  is  one  to  assess  and  evaluate  a  tj^pe  face  in  terms  of  its  esthetic  design?  Why  d  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  EST 
How  is  one  to  assess  and  evaluate  a  type  face  in  term,s  of  its  esthetic  design?  Why  d  vbcd 

0  Point  (9A134)  Lower  case  alphabet.  133  points.  Figures.  .0692 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  vbcd 

10  Point  (l(lA3;<6i  Lower  case  alphabet.  142  points.  Figures,  .0692 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  desig  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  desig  vbcd 

11  Point  (11AI2U1  Lower  case  alphabet,  151  points.  Figures,  .0761 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  oj  its  esthetic  vbcd 

14  Point  (14A21.S)  Lower  case  alphabet.  171  points.  Figures.  .0968 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  I 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  I 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  vbcd 


348 


C  O  M  P  A  R  I  S  O  I>f     OF     SIZES 


Excelsior  with  Bold  Face  I\o.  2 

5  Point  (5A.'':;)  I.Mwer  ra<ic'  .ilplialK-l ,  'i'^  p,.iiit^.  Figures.  .0415  or  .O.-fl 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO 
How  is  one  to  assess  and  evaluate  a  type  face  in  terins  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  12.'J4 
now  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  cstlielic  design?  Why  do  the  pace-makers  in  the  12M 

5':  I'oinI  (?';A4S)  l.ouiT  c.-i^i- .ilpli.ihcl.  l(iil|„„,iiv  l-iKiircs.  .f)4r,  or  .nSO 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design'.'  Why  do  the  pace-makers  in  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  cstlictic  design?  Why  do  the  pace-maliers  in  IT.H 

G  Point  (r,A.114)  l,(,ur-r  case  .-iliiliabct,  107  points.  FiKures.  .04X4 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN? 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-ma  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN? 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-ma  1234 

7  Point   No.  2  (7A1.'""')  Lower  i.isc  ;,liili,ilict ,  11^  jioints,   Pmun-^.  ,05=.l 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  D 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pa  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  D 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pa  1234 

7  Point  No.  1  (7A1.3f)  Power  case  aliilial>ct.  118  points.  FiKUrc-;.  .O.^.S,! 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Wliy  do  the  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  1234 

7lz  Point  (7'.A''>  Lower  case  alphabet.  1.23  points.  Figures.  .0(i22 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHE 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Wliy  do  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHE 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  1234 

S  Point  \o,  2  (.SA440)  Lower  ease  alphabet.  12^  points.  Figures.  M,22 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHE 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHE 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  1234 

K  Point  No,  1    (SA424)  Lower  case  alphabet.  \2u  pmnts.  Fiviures.  .0(,.>2 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  EST 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  d  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  EST 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  d  1234 

')  Point  (OAl.liii  Lower  ease  aliiliabet,  1 ,!.!  piMtit-.  Figure'^.  Mini 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  1234 

10  I'oint   (lOA.IXO)  Lower  ease  .-ilpliabet.  I4J  ix.ints.   l-igures.  .0692 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  dcsig  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  desig  1234 

11  I\.int  (llAl-«)  Lower  case  alph.ibet.  ISl  jioints.  Figures.  .0761 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  1234 


349 


C«»MPARISOIV    OF    SIZES 


Excelsior  with  Bold  Face  IVo.  2 

13  Point  (HA-I^S)  Lower  case  alphabet,  158  points.  Figures.  .083 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TE 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthet  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TE 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthet  1234 

14  Point  (I4A214J  Lower  case  alphabet,  171  points.  Figures.  .0968 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  I 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  I 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  1234 

Excelsior  ivith  Gothic  IVo.  3 

5  Point  (5A36)  Lower  case  alpliabet.  95  points.  Figures,  .0415 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  1234 

S'/'j  Point  (5'jA54)  Lower  case  alphabet,  100  points.  Figures,  .046 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TEFiMS  OF  ITS  ESTHETIC  DESIGN?  WHY 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  1234 

h  I'liint  U.A.lMi)  I.(.wcr  i,ase  alphaljet.  10.3  points.  Fignres,  .0484 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN? 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-mak  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN? 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-mak  1234 

/  I'nint  Nt>.  2  (7AL^8)  Lower  case  alphabet,  115  points.  Figures.  .0553 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  D 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pa  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  D 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pa  1234 

7  I'.init  .\.i.  1   (?AL^i.i  L.iwer  case  alphabet.  118  points.  Figures.  .05,'^.'! 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  1234- 

8  I'oint  No.  2  (8A46SI  Lower  case  alphabet,  123  points.  Figures,  .0622 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHE 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHE 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  1234 


(pc LINOTYPE   ') 

Excelsior  with  Memphis  Bold 

Excelsior  is  also  available  in  combination  with  Memphis 
Bold;  see  the  index  for  its  showing  elsewhere  in  this  book 


350 


LIIVOTYPE    EXCELSIOR    WITH    ITALIC 


5 '/a  Point 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY 
DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  OF  TYPE?  WHAT 

How  IS  ONE  to  assess  and  evaluate 


5V 


How  IS  ONE  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace-mak- 
ers in  the  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it  so  superla- 
tively pleasant  to  their  eyes?  Good  design  is  always 
practical  design.  And  what  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fitness  to 
perform  its  work.  It  has  a  "heft"  and  balance  in  all 
of  its  parts  just  right  for  its  size,  as  any  good  tool 
has.  Your  good  chair  has  all  of  its  parts  made  nicely 
to  the  right  size  to  do  exactly  the  work  that  the  chair 
has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and 
weak,  no  waste  of  material  and  no  lack  of  strength. 
And,  beyond  that,  the  chair  may  have  been  made  by 
a  man  who  worked  out  in  it  his  sense  of  fine  shapes 
and  curves  and  proportions:  it  may  be,  actually,  a 
work  of  art.  The  same  thing  holds  for  shapes  of  let- 
ters. And  your  chair,  or  your  letter  (if  a  true  artist 
made  iti  will  have,  besides  its  good  looks,  a  suita- 
bility to  the  Jith  degree  to  be  sat  in,  or  stamped  on 
paper  and  read.  That  explains,  in  a  way,  why  the 
experts  rave  over  the  fine  shapes  of  letters;  but  it 
fails  to  explain  wherein  the  shapes  are  fine.  If  you 
seek  to  go  further  with  the  inquiry,  theories  will  be 
your  only  answer.  Here  is  a  theory  that  the  propo- 

COUPLE,  Japanese;   excellent  cook,   butler,   cham- 
bermaid, seamstress;  willing  and  respectful;  good 
workers;  entire  charge;  go  anywhere;  highly  recom- 
mended  from  employer.  C  139  Herald  T    Q  g  j  p  g  y 

(Set  14  lines  to  the  ineh  zvith  short  descenders) 

List  of  Characters  in  Tnv-Lcller  Font 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 
ABCDEFGHJJKLMlVOPQRSTUVWXYZ<£r.«CE 

ABCDEFCHIJKLMNOPQRSTUVWXYZ&.^a: 

abcdefghijklmnopqrstuvwxyzaeoefiflffffiffl  1234567890  $£..: ;-"?!-!—       . . .  O  (S  tb'ttHH] 
abcdefghijklmnopqrstuvwxijzcBoefiflffffiffl  1234567S90  $£,.:;-"?! .  . .        ()([ilb   tn§[l 

matrix  Information:  5!iAS0.  Lower  case  alph.ibet.   100  points.  Figures,  .046  i.r  .OJO:  cnmni,i,  peri.ul 

Kuns  ill  90  channel  inaga7ine.  r.Hle  word,  Z.-\F.L\. 


type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace-mak- 
ers in  the  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it  so  superla- 
tively pleasant  to  their  eyes?  Good  design  is  always 
practical  design.  And  what  they  see  in  a  good  type 
design  is.  partly,  its  excellent  practical  fitness  to 
perform  its  work.  It  has  a  "heft"  and  balance  in  all 
of  its  parts  just  right  for  its  size,  as  any  good  tool 
has.  Your  good  chair  has  all  of  its  parts  made  nicely 
to  the  right  size  to  do  exactly  the  work  that  the  chair 
has  to  do.  neither  clums.v  and  tliick,  nor  "skinny"  and 
weak,  no  waste  of  material  and  no  lack  of  strength. 
And,  beyond  that,  the  chair  may  have  been  made  by 
a  man  who  worked  out  in  it  his  sense  of  fine  shapes 
and  curves  and  proportions:  it  may  be,  actually,  a 
work  of  art.  The  same  thing  holds  for  shapes  of  let- 
ters. And  your  chair,  or  your  letter  i  if  a  true  artisf 
made  it  I  will  have,  besides  its  good  looks,  a  suita- 
bility to  the  Jzth  degree  to  be  sat  in,  or  stamped  on 
paper  and  read.  That  explains,  in  a  way,  why  the 
experts  rave  over  the  fine  shapes  of  letters;  but  it 
fails  to  explain  wherein  the  shapes  are  fine.  If  you 

How  is  one  to  assess  and  evaluate  a  type  jace  in 
terms  of  its  esthetic  design?  Why  do  the  pace-mak- 
ers in  the  art  of  printing  rave  over  a  specific  face  of 

I  >:nr  t',:int  leaded) 


1.  D  ',^1  3  a  l/o  5,o  3A  7  ~ 


-(LINOTYPE      >- 


6 


6  Point 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN? 
WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  OF  TY 

How  IS  ONE  to  assess  and  evaluate  a  type  face  in 


How  IS  ONE  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  design 
is  always  practical  design.  And  what  they  see  in 
a  good  type  design  is,  partly,  its  excellent  prac- 
tical fitness  to  perform  its  work.  It  has  a  "heft" 
and  balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good  chair  has  all 
of  its  parts  made  nicely  to  the  right  size  to  do  ex- 
actly the  work  that  the  chair  has  to  do,  neither 
clumsy  and  thick,  nor  "skinny"  and  weak,  no 
waste  of  material  and  no  lack  of  strength.  And, 
beyond  that,  the  chair  may  have  been  made  by  a 
man  who  worked  out  in  it  his  sense  of  fine  shapes 
and  curves  and  proportions;  it  may  be,  actually, 
a  work  of  art.  The  same  thing  holds  for  shapes  of 
letters.  And  your  chair,  or  your  letter  (if  a  true 
artist  made  it)  will  have,  besides  its  good  looks, 

(solid) 
How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  design 
is  always  practical  design.  And  what  th     g  j  p  q  y 

(  u't  -vilh  long  descenders,  on  seven  fuint  body) 


terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  design 
is  always  practical  design.  And  what  they  see  in 
a  good  type  design  is,  partly,  its  excellent  prac- 
tical fitness  to  perform  its  work.  It  has  a  "heft" 
and  balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good  chair  has  all 
of  its  parts  made  nicely  to  the  right  size  to  do  ex- 
actly the  work  that  the  chair  has  to  do,  neither 
clumsy  and  thick,  nor  "skinny"  and  weak,  no 
waste  of  material  and  no  lack  of  strength.  And. 
beyond  that,  the  chair  may  have  been  made  by  a 
man  who  worked  out  in  it  his  sense  of  fine  shapes 
and  curves  and  proportions:  it  may  be.  actually, 
a  work  of  art.  The  same  thing  holds  for  shapes  of 
letters.  And  your  chair,  or  your  letter  (if  a  true 
artist  made  it)  will  have,  besides  its  good  looks, 
a  suitability  to  the  nth  degree  to  be  sat  in,  or 

How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  tlie  pace- 
makers in  the  art  of  printing  rave  over  a  specific 

I  ene  po}nt  leaded  I 


List  oj  Characters  in  Tieu-I.ettei  Font 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&i^Ci: 
ABCDEFGH/JKLMNOPQRSTUVWXYZ&>«  CE 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&.'EtE 

abcdefghijklmnopqrstuvwxyzasoefiflfFflifH  1234567890  $£,.:;-"?!-! 
abcdefghijklmnopqrstuvwxyzcecefiflfjffifji  1234567890  $£,.:;-"?!-  ■ 

Matri.v  Information :  GA-'-O.  Lower  c.tsc  alplialiet.  1117  pninl^.   I'ii;iire<.  .04S-) ;  co 
channel  maga/ine.  Code  word.  Z.MII/. 


...()("m*tt1§[)' 

oarib  nwuv. 


riod  and  thin  space.  .0J77.  Runs  in  90 


351 


LIIVOTYPE    EXCELSIOR    WITH    ITALIC 


7  Point  I\o.  2 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  D 
WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FAC 
How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is 
it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  practical  design.  And  what  they 
see  in  a  good  type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair 
has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do, 
neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of  material  and  no  lack  of  strength. 
And,  beyond  that,  the  chair  may  have  been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine 
shapes  and  curves  and  proportions:  it  may  be,  actually,  a  work  of  art.  The  same  thing  holds  for 
shapes  of  letters.  And  your  chair,  or  your  letter  (if  a  true  artist  made  it)  will  have,  besides  its 
good  looks,  a  suitability  to  the  ?ith  degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That  ex- 
plains, in  a  way,  why  the  experts  rave  over  the  fine  shapes  of  letters;  but  it  fails  to  explain 
wherein  the  shapes  are  fine.  If  you  seek  to  go  further  with  the  inquiry,  theories  will  be  your 
only  answer.  Here  is  a  theory  that  the  proponent  thinks  may  have  sense  in  it:  Fine  type  letters 
were,  in  the  first  place,  copies  of  fine  written  letters.  Fine  written  letters  were  fine  because  they 
were  produced  in  the  most  direct  and  simple  way  by  a  tool  in  the  hands  of  a  person  expert  in  its 
use,  by  a  person,  moreover,  who  was  an  artist,  i.e.,  a  person  equipped  to  make  sound  judgments 
about  lines,  curves,  proportions,  etc.  The  artist  of  that  moment  when  printing  was  invented  who 
furnished  the  fine  written  patterns  for  type  was  (luckily  for  printing)  working  at  the  top  notch 
of  a  fine  tradition  of  calligraphy.  He  was  making  sound  judgments  about  lines  and  curves  and 
proportions  of  letters.  He  had  resurrected  an  ancient  distinguished  style  of  writing  and  had 
added  to  it  the  quality  of  his  own  fine  taste.  His  letters  fiowed  from  his  pen  easily  and  simply, 
without  any  tricks  or  affectations  or  extraneous  embellishments.  He  was  simple  enough  and 
artist  enough  to  let  the  implement  itself  (and  his  facile  hand)  shape  the  product.  The  fine  quali- 
ties of  this  artist's  letter-forms  were  carried  over  into  the  metal  types  and  sealed  up  there,  like 
butterflies  in  amber.  It  is  argued,  however,  that  the  ascription  of  beauty  to  type  letters  by  this 
route  (i.e.,  via  the  standards  of  calligraphy)  is  false  logic.  If  the  natural  and  simple  and  taste- 
fully controlled  use  of  an  implement  produces  a  fine  result,  why  not  start  with  the  process  of 
founding  type  instead  of  with  the  process  of  writing  with  a  pen?  Why  not  cut  punches  and 
strike  matrices  and  cast  type  metal  simply  and  naturally  and  tastefully,  and  make  types  that 
reflect  a  suitable  artistic  use  of  the  process  of  typefounding?  I  think  that  the  argument  is  esthet- 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is 
it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  practical  design.  And  what  they 

(flt'o  fuinl  leaded) 

How  IS  ONE  to  assess  and  evaluate  a  type  face  How  is  one  to  assess  and  evaluate  a  type  face 

in  terms  of  its  esthetic  design?  Why  do  the  in  terms  of  its  esthetic  design?  Why  do  the 

pace-makers  in  the  art  of  printing  rave  over  pace-makers  in  the  art  of  printing  rave  over 

a  specific  face  of  type?  What  do  they  see  in  ..?  ^  specific  face  of  type?  What  do  they  see  in  it? 

Why  IS  it  so  superlatively  pleasant  to  their  ,,,if    ...                   i  *■     i       i          \  ,.     1.1.  ■ 

eyeh  Good  design  is  always  practical  design.  Why  is  it  so  superlatively  pleasant  to  their 

And  what  they  see  in  a  good  type  design  is,  eyes?  Good  design  is  always  practical  design. 

partly,  its  excellent  practical  fitness  to  per-  And  what  they  see  in  a  good  type  design  is, 

form  its  work.  It  has  a  "heft"  and  balance  in  partly,  its  excellent  practical  fitness  to  per- 

all  of  its  parts  just  right  for  its  size,  as  any  form  its  work.  It  has  a  "heft"  and  balance  in 

good  tool  has.  Your  good  chair  has  all  of  its  all  of  its  parts  just  right  for  its  size,  as  any 

parts  made  nicely  to  the  right  size  to  do  ex-  good  tool  has.  Your  good  chair  has  all  of  its 

actly  the  work  that  the  chair  has  to  ao.  neither  p^rts  made  nicely  to  the  right  size  to  do  ex- 

clunisy  and  thick  nor    skmny    and  weak  no  ^^    ^^          .^  ^^^  ^^    ^  .^,  ^          ^     neither 

waste  of  material  and  no  lack  of  strength.  •'             ■,  i.  •  ,             ..  ,  ■        ..      j          , 

And,  beyond  that,  the  chair  may  have  been  clumsy  and  thick,  nor    skinny   and  weak,  no 

made  by  a  man  who  worked  out  in  it  his  sense  waste  of  material  and  no  lack  of  strength. 

(snjiji  (ouc  paint  leaded) 

List  of  Cliaraeters  iu  T-.eo-Lefter  Fnvt 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&jECE 

abcdefghijklmnopqrstuvwxyz&^ce 
abcdefghijklmnopqrstuvwxyzaecEfififfffifil  1234567890  $£,.:;-"?!-!—       . . .  ()  (5'lb*t+1I§[]% 

¥81/4%  1/2%%% 

abcdefghijklmnopqrstuvwxyzcBOzfiflfJjfijfl  1234567890  $£,.:;-"?! . . .       O&th  t1:1I§[]% 

Matrix  Information :  7A142.  Lower  case  alphabet,  115  points.  Figures,  .0553;  comma,  period  and  thin  space.  .0277.  Runs  in  90 
channel  magazine.  Code  word,  ZACOJ. 


352 


LINOTYPE    EXCELSIOR    WITH    ITALIC 


7  Point  No.  1 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC 
DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SP 
How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is 
it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  practical  design.  And  what 
they  see  in  a  good  type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its  work.  It 
has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good 
chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has 
to  do,  neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of  material  and  no  lack  of 
strength.  And,  beyond  that,  the  chair  may  have  been  made  by  a  man  who  worked  out  in  it  his 
sense  of  fine  shapes  and  curves  and  proportions:  it  may  be,  actually,  a  work  of  art.  The  same 
thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  letter  (if  a  true  artist  made  it)  will 
have,  besides  its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped  on  paper 
and  read.  That  explains,  in  a  way,  why  the  experts  rave  over  the  fine  shapes  of  letters;  but  it 
fails  to  explain  wherein  the  shapes  are  fine.  If  you  seek  to  go  further  with  the  inquiry,  theo- 
ries will  be  your  only  answer.  Here  is  a  theory  that  the  proponent  thinks  may  have  sense  in 
it:  Fine  type  letters  were,  in  the  first  place,  copies  of  fine  written  letters.  Fine  written  letters 
were  fine  because  they  were  produced  in  the  most  direct  and  simple  way  by  a  tool  in  the 
hands  of  a  person  expert  in  its  use,  by  a  person,  moreover,  who  was  an  artist,  i.e.,  a  person 
equipped  to  make  sound  judgments  about  lines,  curves,  proportions,  etc.  The  artist  of  that 
moment  when  printing  was  invented  who  furnished  the  fine  written  patterns  for  type  was 
(luckily  for  printing)  working  at  the  top  notch  of  a  fine  tradition  of  calligraphy.  He  was  mak- 
ing sound  judgments  about  lines  and  curves  and  proportions  of  letters.  He  had  resurrected  an 
ancient  distinguished  style  of  writing  and  had  added  to  it  the  quality  of  his  own  fine  taste.  His 
letters  flowed  from  his  pen  easily  and  simply,  without  any  tricks  or  affectations  or  extrane- 
ous embellishments.  He  was  simple  enough  and  artist  enough  to  let  the  implement  itself  (and 
his  facile  hand)  shape  the  product.  The  fine  qualities  of  this  artist's  letter-forms  were  carried 
over  into  the  metal  types  and  sealed  up  there,  like  butterfiies  in  amber.  It  is  argued,  however, 
that  the  ascription  of  beauty  to  type  letters  by  this  route  (i.e.,  via  the  standards  of  callig- 
raphy) is  false  logic.  If  the  natural  and  simple  and  tastefully  controlled  use  of  an  implement 
produces  a  fine  result,  why  not  start  with  the  process  of  founding  type  instead  of  with  the 
process  of  writing  with  a  pen?  Why  not  cut  punches  and  strike  matrices  and  cast  type  metal 
simply  and  naturally  and  tastefully,  and  make  types  that  reflect  a  suitable  artistic  use  of  the 
How  is  one  to  assess  arid  evaluate  a  type  jace  in  terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printirig  rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is 
it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  practical  design.  And  what 

(tzvi>  fuint  leaded) 

How  IS  ONE  to  assess  and  evaluate  a  type  face  How  is  one  to  assess  and  evaluate  a  type  face 

in  terms  of  its  esthetic  design?  Why  do  the  in  terms  of  its  esthetic  design?  Why  do  the 

pace-makers  in  the  art  of  printing  rave  over  pace-makers  in  the  art  of  printing  rave  over 

^J^uu^""  ^f'^®  °  type?  What  do  they  see  in  ^  specific  face  of  type?  What  do  they  see  in 
it?  Why  IS  it  so  superlatively  pleasant  to  their        ,.n  i,r,      •    ■.  i   *•     i       i  i  *    .i,    • 

eyes?  Good  design  is  always  practical  design.  '^-  ^hy  is  it  so  superlatively  pleasant  to  their 

And  what  they  see  in  a  good  type  design  is,  eyes?  Good  design  is  always  practical  design. 

partly,  its  excellent  practical  fitness  to  per-  And  what  they  see  m  a  good  type  design  is, 

form  its  work.  It  has  a  "heft"  and  balance  in  partly,  its  excellent  practical  fitness  to  per- 
all  of  its  parts  just  right  for  its  size,  as  any  tone  p^mi  u-adcd) 

good  tool  has.  Your  good  chair  has  all  of  its  How  is  one  to  assess  and  evaluate  a  type  face 

parts  made  nicely   to  the   right   size  to   do  ;     tpv-ms  of  its  esthetic  desion'?  Whv  dn  the 

exactly  the  work  that  the  chair  has  to  do,  '"  ^-eims  oi  ns  estnetic  aesign     wny  do  the 

neither  clumsy  and  thick,  nor  "skinny"  and  pace-makers  in  the  art  of  printing  rave  over 

weak,  no  waste  of  material  and  no  lack  of  a  specific  face  of  type?  What  do  they  see  in 

strength.  And,  beyond  that,  the  chair  may  it?  Why  is  it  so  superlatively  pleasant  to  their 

have  been  made  by  a  man  who  worked  out  eyes?  Good  design  is  always  pract    g  j  p  q  y 

I  solid  I  i::>ct  zeith  loiuj  dciiCiidi'is,  vn  cuiitt  foiitt  body' 

List  .'/ r/ijiu.;,-)  >  ill  I -.eo-I.eitci  F.'iii 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^O: 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&JECE 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 

abcdefghijklmnopqrstuvwxyza?oefiflffffiffll234567890$£,.::-"?!-I—       .  .  .0(,t'm*nUU7o 

y8'/4%l2'!8'!'4''8 

abcdefghijklmnopqrstuvwxyzceaififljfffifjl  1234567890 $£ ,.:;-"?! •. . .       ()(<im  t1:1I§[]% 

Vs  1/4%  1/2%%% 

Matiix  !nlon>ialiiiii :  r.^!4(l.  I.i.uc-r  i-.i^i-  ;ilpli.ilift.  IIS  iiciints.  FiKiircs.  .0;;j;  coTiiiiia.  pcri..(l  .-mil  lliiii  sp.nf.  .(i-'77.  Runs  in  <J0 
cliaiiiifl  iiiaKa/inc.  l'i,de  «.,nl.  X.VCM.X. 


353 


7'/2 


LII^OTYPE    EXCELSIOR    WITH    ITALIC 


7  Va  Point 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHE 
DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER 
How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in 
it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  practical  de- 
sign. And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent  practical  fitness  to 
perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do 
exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and 
weak,  no  waste  of  material  and  no  lack  of  strength.  And,  beyond  that,  the  chair  may  have 
been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and  curves  and  propor- 
tions: it  may  be,  actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of  letters.  And 
your  chair,  or  your  letter  (if  a  true  artist  made  it)  will  have,  besides  its  good  looks,  a 
suitability  to  the  nth  degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That  explains,  in 
a  way,  why  the  experts  rave  over  the  fine  shapes  of  letters;  but  it  fails  to  explain  wherein 
the  shapes  are  fine.  If  you  seek  to  go  further  with  the  inquiry,  -theories  will  be  your  only 
answer.  Here  is  a  theory  that  the  proponent  thinks  may  have  sense  in  it:  Fine  type  letters 
were,  in  the  first  place,  copies  of  fine  written  letters.  Fine  written  letters  were  fine  be- 
cause they  were  produced  in  the  most  direct  and  simple  way  by  a  tool  in  the  hands  of  a 
person  expert  in  its  use,  by  a  person,  moreover,  who  was  an  artist,  i.e.,  a  person  equipped 
to  make  sound  judgments  about  lines,  curves,  proportions,  etc.  Tlie  artist  of  that  moment 
when  printing  was  invented  who  furnished  the  fine  written  patterns  for  type  was  (luckily 
for  printing)  working  at  the  top  notch  of  a  fine  tradition  of  calligraphy.  He  was  making 
sound  judgments  about  lines  and  curves  and  proportions  of  letters.  He  had  resurrected 
an  ancient  distinguished  style  of  writing  and  iiad  added  to  it  the  quality  of  his  own  fine 
taste.  His  letters  flowed  from  his  pen  easily  and  simply,  without  any  tricks  or  affectations 
or  extraneous  embellishments.  He  was  simple  enough  and  artist  enough  to  let  the  imple- 
ment itself  (and  his  facile  hand)  shape  tlie  product.  The  fine  qualities  of  this  artist's  letter- 
forms  were  carried  over  into  the  metal  types  and  sealed  up  there,  like  butterflies  in  amber. 
It  is  argued,  however,  that  the  ascription  of  beauty  to  type  letters  by  this  route  (i.e.,  via 
the  standards  of  calligraphy)  is  false  logic.  If  the  natural  and  simple  and  tastefully  con- 
trolled use  of  an  implement  produces  a  fine  result,  why  not  start  with  the  process  of 
How  is  one  to  assess  and  evaluate  a  type  {ace  in  terins  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in 
it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  practical  de- 

(tzi'o  point  leaded) 

How  IS  ONE  to  assess  and  evaluate  a  type  How  is  one  to  assess  and  evaluate  a  type 

face  in  terms  of  its  esthetic  design?  Wh"  face  in  terms  of  its  esthetic  design?  Why 

do  the  pace-mal^ers  in  the  art  of  printing  do  the  pace-makers  in  the  art  of  printing 

rave  over  a  specific  face  of  type?  What  do  ^^^^  ^^gj.  ^  specific  face  of  type?  What  do 

XLZt  ^£.^^^  ^o^o°dSSira\^  ^hey  see  in  it?  Why  is  it  so  superlatively 

loays  practical  design.  And  what  they  see  pleasant  to  their  eyes?  Good  design  is  al- 

in  a  good  type  design  is,  partly  its  excel-  ways  practical  design.  And  what  they  see 

lent  practical  fitness  to  perform  its  work.  in  a  good  type  design  is,  partly  its  excel- 

It  has  a  "heft"  and  balance  in  all  of  its  lent  practical  fitness  to  perform  its  work, 

parts  just  right  for  its  size,  as  any  good  tool  it  has  a  "heft"  and  balance  in  all  of  its 

has.  Your  good  chair  has  all  of  its  parts  paj^^s  just  right  for  its  size,  as  any  good  tool 

made  nicely  to  the  right  size  to  do  exactly  ^^        y^^^.       ^     ^^  ■     ^        ^■^     f  j^g     ^^^^ 

the  work  that  the  chair  has  to  do,  neither  nicelv  to  the  ri?ht  si7e  to  do  exactly 

clumsy  and  thick,  nor  "skinny"  and  weak,      ^^'^^  nicely  to  tne  rigm  size  to  ao  exactly 

/^^,lj  jj  (one  poiut  leaded) 

List  of  Cliai-actcrs  in  Tivo-Lettcr  Font 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&ZECE 
ABCDEFGHIJKLMNOPQRSTVVWXYZ&MCE 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 

abcdefghiiklmnopqrstuvwxyzaeoefiflflfflfiffl  1234567890  $£,.:;-"?!-!—       .  .  .()@» 

*tt1T§[]%    1/8  1/4%  1/2%%% 

abcdefghijklmnopqrstuvwxyzceoBfiflffffiffl  1234567890  $  £ ,.::-"?! .  .  .        ()@n> 

ttH  §  [  ]  %  Vs  1/4  %  1/2  %  %  % 

Matrix  Injonuation  :  7!/2A8.  Lower  case  alphabet,  123  points.  Figures.  .0622;  comma,  period  and  thin  space.  .0311.  Runs  in  90 
channel  niaga/ine.  Code  word,  ZAVUC. 


354 


LIIVOTYPE    EXCELSIOR    WITH    ITALIC 


8 


8  Point  No.  I 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  EST 
DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER 
How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do 
the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they 
see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  prac- 
tical design.  And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent  practical 
fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right 
size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor 
"skinny"  and  weak,  no  waste  of  material  and  no  lack  of  strength.  And,  beyond  that,  the 
chair  may  have  been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and 
curves  and  proportions:  it  may  be,  actually,  a  work  of  art.  The  same  thing  holds  for 
shapes  of  letters.  And  your  chair,  or  your  letter  (if  a  true  artist  made  it)  will  have  be- 
sides its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped  on  paper  and 
read.  That  explains,  in  a  way,  why  the  experts  rave  over  the  fine  shapes  of  letters;  but 
it  fails  to  explain  wherein  the  shapes  are  fine.  If  you  seek  to  go  further  with  the  inquiry, 
theories  will  be  your  only  answer.  Here  is  a  theory  that  the  proponent  thinks  may  have 
sense  in  it:  Fine  type  letters  were,  in  the  first  place,  copies  of  fine  written  letters.  Fine 
written  letters  were  fine  because  they  were  produced  in  the  most  direct  and  simple  way 
by  a  tool  in  the  hands  of  a  person  expert  in  its  use,  by  a  person,  moreover,  who  was  an 
artist,  i.e.,  a  person  equipped  to  make  sound  judgments  about  lines,  curves,  proportions, 
etc.  The  artist  of  that  moment  when  printing  was  invented  who  furnished  the  fine  writ- 
ten patterns  for  type  was  (luckily  for  printing)  working  at  the  top  notch  of  a  fine  tra- 
dition of  calligraphy.  He  was  making  sound  judgments  about  lines  and  curves  and  pro- 
portions of  letters.  He  had  resurrected  an  ancient  distinguished  style  of  writing  and  had 
added  to  it  the  quality  of  his  own  fine  taste.  His  letters  flowed  from  his  pen  easily  and 
simply,  without  any  tricks  or  affectations  or  extraneous  embellishments.  He  was  simple 
enough  and  artist  enough  to  let  the  implement  itself  (and  his  facile  hand)  shape  the 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do 
the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they 
see  in  it?  Why  is  it  so  superlatively  pleasarit  to  their  eyes?  Good  design  is  always  prac- 

(  t:v,'  pvUit  leaded! 

How  IS  ONE  to  assess  and  evaluate  a  type  How  is  one  to  assess  and  evaluate  a  type 

face  in  terms  of  its  esthetic  design?  Why  face  in  terms  of  its  esthetic  design?  Why 

do  the  pace-makers  m  the  art  of  printing  do  the  pace-makers  in  the  art  of  printing 

rave  over  a  specific  face  of  type?  What  do  ^.^ve  over  a  specific  face  of  type?  What  do 

they  see  in  it?  Why  is  it  so  superlatively  .,  •     •^o  titi      •      *  i   *•     i 

pleasant  to  their  eyes?  Good  design  is  al-  ^^ey  see  in  it?  Why  is  it  so  superlatively 

ways  practical  design.  And  what  they  see  Pleasant  to  their  eyes?  Good  design  is  al- 

in  a  good  type  design  is,  partly,  its  excel-  ways  practical  design.  And  what  they  see 
lent  practical  fitness  to  perform  its  work.  (.'»-/.,..«( /,,„/,</j 

It  has  a  "heft"  and  balance  in  all  of  its  ^ow  is  one  to  assess  and  evaluate  a  type 

parts  just  right  for  Its  size   as  any  good  ^^^^  -^  ^^^^^  ^^  -^^  ^^^^^^-^  ^g^.      ,  ^^ 

tool  has.  Your  good  chair  has  all  ot  its  ,     .,  ,         •     ^u        ..    *      •   x- 

parts  made  nicely  to  the  right  size  to  do  ^o  the  pace-makers  m  the  art  of  printing 

exactly  the  work  that  the  chair  has  to  do,  rave  over  a  specific  face  of  type?  What  do 

neither  clumsy  and  thick,  nor  "skinny"  they  see  m  it?  Why  is  it  so  superlatively 

and  weak,  no  waste  of  material  and  no  pleasant  to  their  eyes?  Good  de     g  j  p  q  y 

I  selid)  (Set  -vifh  Un:(i  di\u  eiulri  s .  cii  niiu    l'<niil  hudy 

List  III  Characters  in  Tzcu-Lel : rr  Fe^:,! 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&/E0E 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&/ECE 

abcdefghijklmnopqrstuvwxyzascefiflffffiffll234567890$£. .::-"?!-!—       .  .  .()@ffi 

*  t  W §  [  ]  7o    %  V4  %  V2  5'8  %  % 

abcdefghijklmnopqr.stuvw.vyzceoefifljfffiffi  1234567890 $£ ,.::-"?! ■.  .  .        ()@lb 

tt11§[]%    Vs  1/4%  1/2%  3/4  78 

Miilii.r  Intormation  :  .SA-4.i.'.  I,ii«<-r  lasc  alphabet.  1J6  imiiits.  Figures.  .06JJ:  comma,  ijcriod  ami  lliin  space.  .0311.  Kuns  in  90 
cliamiel  magazine,  (nde  word.  '/..\i'l)V. 


2>55 


9 


LIIVOTYPE    EXCELSIOR    WITH    ITALIC 

9  Point 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS 
ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTI 
How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why- 
do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do 
they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  al- 
ways practical  design.  And  what  they  see  in  a  good  type  design  is,  partly,  it  excel- 
lent practical  fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its 
parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts 
made  nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither 
clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of  material  and  no  lack  of 
strength.  And,  beyond  that,  the  chair  may  have  been  made  by  a  man  who  worked 
out  in  it  his  sense  of  fine  shapes  and  curves  and  proportions:  it  may  be,  actually,  a 
work  of  art.  The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  let- 
ter (if  a  true  artist  made  it)  will  have,  besides  its  good  looks,  a  suitability  to  the  nth 
degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That  explains,  in  a  way,  why  the 
experts  rave  over  the  fine  shapes  of  letters;  but  it  fails  to  explain  wherein  the 
shapes  are  fine.  If  you  seek  to  go  further  with  the  inquiry,  theories  will  be  your  only 
answer.  Here  is  a  theory  that  the  proponent  thinks  may  have  sense  in  it:  Fine  type 
letters  were,  in  the  first  place,  copies  of  fine  written  letters.  Fine  written  letters 
were  fine  because  they  were  produced  in  the  most  direct  and  simple  way  by  a  tool 
in  the  hands  of  a  person  expert  in  its  use,  by  a  person,  moreover,  who  was  an  artist, 
i.e.,  a  person  equipped  to  make  sound  judgments  about  lines,  curves,  proportions, 
etc.  The  artist  of  that  moment  when  printing  was  invented  who  furnished  the  fine 
written  patterns  for  type  was  (luckily  for  printing)  working  at  the  top  notch  of  a 
fine  tradition  of  calligraphy.  He  was  making  sound  judgments  about  lines  and 
curves  and  proportions  of  letters.  He  had  resurrected  an  ancient  distinguished  style 
of  writing  and  had  added  to  it  the  quality  of  his  own  fine  taste.  His  letters  flowed 
from  his  pen  easily  and  simply,  without  any  tricks  or  affectations  or  extraneous 
embellishments.  He  was  simple  enough  and  artist  enough  to  let  the  implement  it- 
self ( and  his  facile  hand )  shape  the  product.  The  fine  qualities  of  this  artist's  letter- 
forms  were  carried  over  into  the  metal  types  and  sealed  up  there,  like  butterflies  in 
amber.  It  is  argued,  however,  that  the  ascription  of  beauty  to  type  letters  by  this 
route  (i.e.,  via  the  standards  of  calligraphy)  is  false  logic.  If  the  natural  and  simple 
and  tastefully  controlled  use  of  an  implement  produces  a  fine  result,  why  not  start 
with  the  process  of  founding  type  instead  of  with  the  process  of  writing  with  a  pen? 
Why  not  cut  punches  and  strike  matrices  and  cast  type  metal  simply  and  naturally 
and  tastefully,  and  make  types  that  reflect  a  suitable  artistic  use  of  the  process  of 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do 
they  see  in  it?  Why  is  it  so  sujjerlatively  pleasant  to  their  eyes?  Good  design  is  al- 

(two  point  leaded) 
List  of  Characters  in  Two-Letter  Font 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&.ECE 

abcdefghijklmnopqrstuvwxyzaeoefiflffffiffl  1234567890  $  £  ,.:;-"?!-|—        .  .  .() 

@  lb  *  t  $  H  §  [  ]  %    %  1/4  %  1/2  %  %  % 

ahcdefghijklmnopqrstuvwxyzceoefiflfffjfiffl  1234567890  $£,.:;-"?! .  .  .        () 

@tb     nil§[]%    1/8  1/4%  1/2%%% 

Matrix  Information .  9A134.  Lower  case  alphabet,  133  points.  Figures.  .0693;  comma,  period  and  thin  space,  .0346.  Runs  in  90 
channel  magazine.  Code  word,  ZARAZ. 


356 


LIIVOTYPE    EXCELSIOIt    WITH    ITALIC 

10  Point 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF 
ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF 
How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type? 
What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good 
design  is  always  practical  design.  And  what  they  see  in  a  good  type  design  is, 
partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good 
chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly  the  work 
that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no 
waste  of  material  and  no  lack  of  strength.  And,  beyond  that,  the  chair  may 
have  been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and 
curves  and  proportions:  it  may  be,  actually,  a  work  of  art.  The  same  thing 
holds  for  shapes  of  letters.  And  your  chair,  or  your  letter  (if  a  true  artist  made 
it)  will  have,  besides  its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in, 
or  stamped  on  paper  and  read.  That  explains,  in  a  way,  why  the  experts  rave 
over  the  fine  shapes  of  letters;  but  it  fails  to  explain  wherein  the  shapes  are 
fine.  If  you  seek  to  go  further  with  the  inquiry,  theories  will  be  your  only  an- 
swer. Here  is  a  theory  that  the  pi'oponent  thinks  may  have  sense  in  it:  Fine 
type  letters  were,  in  the  first  place,  copies  of  fine  written  lettei's.  Fine  written 
letters  were  fine  because  they  were  produced  in  the  most  direct  and  simple 
way  by  a  tool  in  the  hands  of  a  person  expert  in  its  use,  by  a  person,  moreover, 
who  was  an  artist,  i.e.,  a  person  equipped  to  make  sound  judgments  about 
lines,  curves,  proportions,  etc.  The  artist  of  that  moment  when  printing  was 
invented  who  furnished  the  fine  written  patterns  for  type  was  (luckily  for 
printing)  working  at  the  top  notch  of  a  fine  tradition  of  calligraphy.  He  was 
making  sound  judgments  about  lines  and  curves  and  proportions  of  letters. 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printiiig  rave  over  a  specific  face  of  type? 
What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good 

I  lu\'  fiinil  leaded) 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type? 
What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good 
design  is  always  practical  design.  And  what  they  see  in  a  good  type  design  is, 
partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has.     g  j  p  q  y 

(u-t  with  loiuj  dcSLCndcli,  un  cU-vcn  foiiU  body) 
List  ,'i  Chaiacl,-is  In  T-.v<i-I.cllcr  For.l 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&MCE 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 

abcdefghijklmnopqrstuvwxyzseoefififfffiffl  1234567890  $£,.:;-"?!-]—       . . .  () 

@tb  * tri  §  [  ]  '/i  Vs  1/4  %  V2  %  %  % 
ahcdefghijklmnopcirstuvwxyzcEoefifijfjfLffl  1234567890  $£..::-"?! . . .        () 

@ffi  fmiY/o  V8V4%y2%%y8 

Afntrir  hilnrmatloii  ■  lOA-ISf.  I.r.wcr  rase  alpli.ilict.  1-12  rointfi.  Fisiirc;.  .0r,')2;  coniina.  rcriod  .-mcl  lluii  siiarc.  .03tr..  Kims  in  90 
iliaiiiu-l  luajja/iiic.  C.nle  uonl.  Z.\(  KO. 


10 


357 


11 


LII^OTYPfc;    EXCELSIOR    WITH    ITALIC 


1 1  Point 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS 
OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE 
How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to 
their  eyes?  Good  design  is  always  practical  design.  And  what  they  see  in  a 
good  type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its 
work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the 
right  size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy 
and  thick,  nor  "skinny"  and  weak,  no  waste  of  material  and  no  lack  of 
strength.  And,  beyond  that,  the  chair  may  have  been  made  by  a  man  who 
worked  out  in  it  his  sense  of  fine  shapes  and  curves  and  proportions:  it 
may  be,  actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of  letters. 
And  your  chair,  or  your  letter  (if  a  true  artist  made  it)  will  have,  besides 
its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped  on 
paper  and  read.  That  explains,  in  a  way,  why  the  experts  rave  over  the 
fine  shapes  of  letters;  but  it  fails  to  explain  wherein  the  shapes  are  fine.  If 
you  seek  to  go  further  with  the  inquiry,  theories  will  be  your  only  answer. 
Here  is  a  theory  that  the  proponent  thinks  may  have  sense  in  it:  Fine  type 
letters  were,  in  the  first  place,  copies  of  fine  written  letters.  Fine  writ- 
ten letters  were  fine  because  they  were  produced  in  the  most  direct  and 
simple  way  by  a  tool  in  the  hands  of  a  person  expert  in  its  use,  by  a  person, 
moreover,  who  was  an  artist,  i.e.,  a  person  equipped  to  make  sound  judg- 
ments about  lines,  curves,  proportions,  etc.  The  artist  of  that  moment 
when  printing  was  invented  who  furnished  the  fine  written  patterns  for 
type  was  (luckily  for  printing)  working  at  the  top  notch  of  a  fine  tradition 
of  calligraphy.  He  was  making  sound  judgments  about  lines  and  curves 
and  proportions  of  letters.  He  had  resurrected  an  ancient  distinguished 
style  of  writing  and  had  added  to  it  the  quality  of  his  own  fine  taste.  His 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to 

(t'.vu  point  leaded) 
List  of  Characters  in  Two-Letter  Font 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 
ABCDEFGH1JKLMNOPQRSTUVWXYZ&/ECE: 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 

abcdefghijklmnopqrstuvwxyzseoefiflffffiffi  1234567890  $£, .:;-"?!-!— 

...()@lb*ti^§[]%M^^%Mi%%% 

ahcdefghijklmnopqrstuvwxyzoeoefiflffffifft  1234567890  $£ ,.:;-"?! 

. . .    ()@m  mnv/o  VsV4:%V2%'%Vs 

Matii.v  Infunnatiun:  11A120.  Lower  case  alphaliet.  151  points.  Figures,  .0761  ;  coniiiia,  period  and  thin  space.  .038.  Runs  in  90 
(iKumel  mairazine.  Code  word.  ZEJKV. 


358 


LII^OTYPE    EXCELSIOR    WITH    ITALIC 

11  Point 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  I 
TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE- 
How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  es- 
thetic design?  Why  do  the  pace-makers  in  the  art  of  printing  rave 
over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  design  is  always  prac- 
tical design.  And  what  they  see  in  a  good  type  design  is,  partly,  its 
excellent  practical  fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool 
has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right 
size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy 
and  thick,  nor  "skinny"  and  weak,  no  waste  of  material  and  no 
lack  of  strength.  And,  beyond  that,  the  chair  may  have  been  made 
by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and  curves 
and  proportions :  it  may  be,  actually,  a  work  of  art.  The  same 
thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  letter  (if 
a  true  artist  made  it)  will  have,  besides  its  good  looks,  a  suitabil- 
ity to  the  nth  degree  to  be  sat  in,  or  stamped  on  paper  and  read. 
That  explains,  in  a  way,  why  the  experts  rave  over  the  fine  shapes 
of  letters;  but  it  fails  to  explain  wherein  the  shapes  are  fine.  If  you 
seek  to  go  further  with  the  inquiry,  theories  will  be  your  only  an- 
swer. Here  is  a  theory  that  the  proponent  thinks  may  have  sense 
How  is  one  to  assess  and  evaluate  a  type  face  in  termns  of  its  es- 
thetic design?  Why  do  the  pace-makers  in  the  art  of  printing  rave 
over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so 

(two  pnint  leaded) 


14 


7-1.1/  01  Cliaiaoti 


ABCDEFGHIJKLMNOPQRSTUVWXYZ&^GE 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 

abcdefghijklmnopqrstuvwxyzaeoefiflffffiffll234567890  $£,.:;- 
?!-!—       .  .  .  ()@Ib*tt1l§[]%  ^«  ^  %  ^^  %  =^i  ^^ 

ahcdefghijklmnopqrstuvioxyzceoefiflfjjjriffl  1234567 890  $  £  ,.:;- 
7!-  _.  .  .        ()@w   nWY'o  Vs  'A  ^;s  \.  ^8  %  v« 


Matiix  hijormation:  1-tA-lS.  l.uwer  case  .iliili.ibct.  171  pnints.  Figures.  .m(,8; 
clianiicl  iii.iKa/iiie.  Codf  wind.  ZF.M.].\. 


peri.  Ill  .111(1  lliin  •^parc.  .0^S4.  Runs  in  90 


359 


Hig 


COLUMBIA  BOOKS  1893-1933 


Higby,  Chester  Penn.  The  Religious  Policy  of 
the  Bavarian  Government  during  the  Napo- 
leonic Period.  1919.  Pp.  346.  8vo.  HEPL,  196. 
$4.00,  paper.  $5.00,  cloth. 

Contents:  1.  Introduction;  Part  I — Bavaria  in  1799: 
2.  Political  and  Social  Conditions;  3.  The  Position  of 
Catholics,  Protestants  and  Jews;  4.  The  Bavarian  Cler- 
gy: 5.  The  Relation  of  State  and  Church:  6.  The  Relig- 
ious Life  of  the  Common  People.  Part  II — The  Relig- 
ious Policy  of  the  Bavarian  Government  during  the 
Napoleonic  Period  and  Its  Immediate  Effects:  7.  The 
New  Government  and  Its  First  Measures;  8.  The  Toler- 
ation Policy  of  the  Bavarian  Government;  9.  Confisca- 
tion of  Church  Property;  10.  The  Intervention  of  the 
Government  in  Purely  Spiritual  Matters;  11.  Interven- 
tion of  the  Government  in  Matters  Partly  Religious  and 
Partly  Secular  in  Character;  12.  Intervention  of  the 
Government  in  Purely  Secular  Matters.  Part  III — The 
Permanent  Effects  of  the  Religious  Policy  Followed  by 
the  Bavarian  Government  during  the  Napoleonic  Peri- 
od; 13.  Religious  Toleration  in  Bavaria  after  1815;  14. 
The  Concordat  of  1817;  15.  The  Relations  of  Church  and 
State  after  1815;  16.  Conclusions. 

Higginson,  James  Jackson.  Spenser's  Shep- 
herd's Calender  in  Relation  to  Contempo- 
rary Affairs.  1912.  Pp.  xiii  +  364.  8vo.  ECL. 
$2.50. 

Contents:  1.  The  Political  and  Ecclesiastical  Satire  of 
the  Shepherd's  Calender;  2.  The  Biographical  Relations 
of  the  Shepherd's  Calender;  Appendix:  Mr.  Greenlaw's 
Theory;  Index. 

Hill,  David  Jayne.  World  Organization  as  Af- 
fected by  the  Nature  of  the  Modern  State. 
1911  (2nd  ed.,  1917).  Pp.  ix  +  214.  8vo.  JSC. 

Contents:  1.  The  State  as  an  Embodiment  of  the  Law; 
2.  The  State  as  a  Juristic  Person;  3.  The  State  as  a  Pro- 
moter of  General  Welfare;  4.  The  State  as  a  Member  of 
a  Society;  5.  The  State  as  a  Subject  of  Positive  Law; 
6.  The  State  as  a  Mediator  of  Guarantees;  7.  The  State 
as  an  Armed  Power;  8.  The  State  as  a  Justiciable  Per- 
son; Index. 

Hill,  Robert  Tudor.  The  Public  Domain  and 
Democracy;  a  study  of  Social,  Economic  and 
Political  Problems  in  the  United  States  in 
Relation  to  Western  Development.  1910.  Pp. 
253.  8vo.  HEPL,  100.  $3.00,  paper. 

Contents:  1.  The  Westward  Movement;  2.  Public 
Land  Policies  and  the  Public  Domain;  3.  Western  Op- 
timism; 4.  Democracy  and  Equality  in  the  West;  5.  De- 
mocracy in  Western  Political  Life;  6.  Democracy  and 
Individualism;  7.  Individualism  and  the  Public  Do- 
main; 8.  Individualism  and  the  Public  Domain  (cont.)  ; 
9.  A  Social  Democracy — Survey  and  Conclusions;  Bib- 
liography; Index. 


Hills,  John  W(aller).  British  Government  Fi- 
nance. By  the  Rt.  Hon.  John  W.  Hills  and 
E.  A.  Fellowes.  2nd  ed.,  rev.,  enl.,  1932.  Pp. 
218.  8vo.  English  and  European  agent:  Philip 
Allan,  London.  $2.75. 

To  make  clear  the  intricacies  of  the  British  financial 
system  and  to  explain  its  machinery  is  the  business  of 
this  book.  It  is  designed  to  show  the  working  of  the 
system,  and  incidentally,  it  is  hoped,  to  prove  that 
much  which  looks  irrational  is  nothing  but  the  work- 
ing out  of  accepted  principles.  The  book  was  origin- 
ally written  in  1925  by  Major  Hills,  who  was  financial 
Secretary  to  the  British  Treasury  during  Mr.  Baldwin's 
first  administration.  To  bring  out  this  revised  edition. 


the  author  secured  the  cooperation  of  Mr.  E.  A.  Fel- 
lowes, a  Clerk  to  the  House  of  Commons.  As  it  now 
stands,  the  book  is  the  only  comprehensive,  authentic, 
and  readable  account  of  the  subject  available  in  the 
United  States. 

Contents.  Part  I — Revenue  &  Administration:  1.  In- 
troduction; 2.  The  Executive;  3.  The  House  of  Com- 
mons; 4.  Collection  of  Revenue;  5.  The  Consolidated 
Fund;  6.  The  Paymaster-General;  7.  Audit  and  Bal- 
ance; 8.  Public  Economy.  Part  II — Currency:  9.  Great 
Britain's  Currency  System.  Part  III — Debt:  10.  National 
Debt  in  General;  11.  The  National  Debt;  12.  Floating 
Debt;  13.  Assets,  Conversion  and  Sinking  Funds.  Ap- 
pendices: 1.  Finance  Bills;  2.  Example  of  an  Appropri- 
ation Account.  Index. 

Hillebrand,  William  Francis.  Our  Analytical 
Chemistry  and  Its  Future.  1917.  Pp.  36.  8vo. 
CFC.  $0.50,  paper. 

Hinkhouse,  Fred  Junkin.  The  Preliminaries  of 
the  American  Revolution  as  Seen  in  the 
English  Press,  1763-1775.  1926.  Pp.  216.  8vo. 
HEPL,  276.  $3.50. 

This  is  a  study  of  English  public  opinion  on  the  great 
issues  in  the  controversy  between  Great  Britain  and 
the  American  colonies  that  resulted  in  the  American 
Revolution.  It  is  concerned  not  with  what  politicians 
said  but  with  what  the  average  well-informed  English- 
man knew  and  thought  about  such  events  as  the  Stamp 
Act,  the  Townshend  Acts,  the  Boston  Tea  Party  and 
the  punishment  of  Boston.  The  author  has  made  a  care- 
ful study  of  contemporary  English  newspapers,  and 
magazines,  and  has  succeeded  in  throwing  new  light 
on  many  of  the  happenings  of  the  critical  period  from 
1763  to  1775. 

Contents:  1.  The  Newspapers;  2.  Before  the  Stamp 
Act;  3.  The  Stamp  Act;  4.  Constitutionality  of  Taxa- 
tion; 5.  Colonial  and  Imperial  Thinking;  6.  Bishops; 
7.  The  Townshend  Acts;  8.  Tea,  and  the  Punishment  of 
Boston;  9.  Concord,  Lexington  and  Bunker  Hill;  10. 
Conclusion;  Appendix;  Index. 

Hinrichs,  A(lbert)  F(ord).  The  United  Mine 
Workers  of  America  and  the  Non-Union 
Coal  Fields.  1923.  Pp.  196.  Diagrs.  Bvo. 
HEPL,  246.  $3.00,  paper. 

Corjfcrjts:  Introduction;  1.  Do  the  Men  Want  the 
Union?;  2.  Wages;  3.  The  Check weighman;  4.  The  Com- 
pany Store;  5.  The  Company  and  Private  Life;  6.  Im- 
provement in  Miners'  Conditions;  7.  The  Development 
of  the  Coal  Industry  and  the  Miner;  8.  Early  History  of 
Unions  of  Coal  Miners;  9.  Conspiracy;  10.  The  Closed 
Shop  in  the  Coal  Industry;  11.  The  Case  of  Manage- 
ment against  the  Union;  12.  Public  Interest  in  Coal;  13. 
Conclusion;  Bibliography;  Index. 

Hirth,  Friedrich.  The  Ancient  History  of  China 
to  the  End  of  the  Chou  Dynasty.  1908  (3rd 
printing,  1923).  Pp.  xx  +  383.  Map  (fold.). 
8vo.  O.p. 

The  ancient  history  of  China  holds  a  position  in  the 
Far  East  similar  to  that  of  Greece  and  Rome  in  the 
West. 

Contents:  Preface;  Instructions  for  Reading  Chinese 
Words;  1.  Mythological  and  Legendary;  2.  The  Confu- 
cian Legends;  3.  The  Shang,  or  Yin  Dynasty  (1766-1122 
B.C.)  ;  4.-8.  The  Chou  Dynasty  (1122-249  B.C.)  ;  Appen- 
dix (Chronological  Tables)  ;  Index;  Sketch  Map  of 
China  during  the  Chou  Dynasty. 

Hishida,  Seiji  G(eorge).  The  International  Po- 
sition of  Japan  as  a  Great  Power.  1905.  Pp. 
289.  8vo.  HEPL,  64.  $3.00,  paper. 

Contents:  1.  Introduction;  2.  International  Society  of 
Ancient  Asia;  3.  Dreams  of  Universal  Empire;  4.  The 
First  Intercourse  of  Japan  with  the  European  Nations; 
5.  Reopening  of  the  Sealed  Japan;  6.  Japan's  Entry  into 
the  Comity  of  Nations;  7.  Modern  International  Rela- 
tions of  Japan  with  Asiatic  Nations;  8.  The  Far  Eastern 
Question;  9.  The  Far  Eastern  Question  (cont.)  ;  10.  Con- 
clusion; Appendix;  Bibliography. 

Historians  of  Anglo-American  Law:  Holds- 
worth. 

Historic  Origin  and  Social  Development  of 
Family  Life  in  Russia:  Elnett. 


This  patie  is  from  Columbia  Bucks  1-S9S-19SS,  a  dictitmary  catalog  of 
Columbia  Llniversity  Press  publications.  The  text  is  reset  in  8  point 
No.  1  Excelsior  with  Italic  and  Small  Caps,  and  the  same  size  in  com- 
bination with  Bold  Face  No.  2.  The  smaller  type  is  S'.'l  point  Excelsior 
with  Italic  aTid  Small  Caps,  cast  on  6  point  tjody.  Running  head  is  10 
point  Excelsior  witli  Bold  Face  No.  2. 


LINOTYPE    EXCELSIOK    WITH    BOLD    FACE    l%o.    2 


5  Point 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO 
THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  OF  TYPE?  WHAT  DO  TH 


How  is  one  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-malcers  in  the 
art  of  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant 
to  their  eyes?  Guod  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design  is.  partly,  its 
excellent  practical  fitness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good  chair  has  all  of 
its  parts  made  nicely  to  the  right  size  to  do  exactly  the 
work  that  the  chair  has  to  do.  neither  clumsy  and 
thick,  nor  "skinny"  and  weak,  no  waste  of  material 
and  no  lack  of  strength.  And.  beyond  that,  the  chair 
may  have  been  made  by  a  man  who  worked  out  in  it 
his  sense  of  fine  shapes  and  curves  and  proportions:  it 
may  be.  actually,  a  work  of  art.  The  same  thing  holds 
for  shapes  of  letters.  And  your  chair,  or  your  letter  (if 
a  true  artist  made  it)  will  have,  besides  its  good  looks, 
a  suitability  to  the  nth  degree  to  be  sat  in.  or  stamped 
on  paper  and  read.  That  explains,  in  a  way.  why  the 
experts  rave  over  the  fine  shapes  of  letters:  but  it  fails 
to  explain  wherein  the  shapes  are  fine.  If  you  seek  to 
go  further  with  the  inquiry,  theories  will  be  your  only 
answer.  Here  is  a  theory  that  the  proponent  thinks 
may  have  sense  in  it:  Fine  type  letters  were,  in  the 
first  place,  copies  of  fine  written  letters.  Fine  written 
letters  were  fine  because  they  were  produced  in  the 
most  direct  and  simple  way  by  a  tool  in  the  hands  of  a 
person  expert  in  its  use.  by  a  person,  moreover,  who 
was  an  artist,  i.e..  a  person  equipped  to  make  sound 
judgments  about  lines,  curves,  proportions,  etc.  The 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Wh.v  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  of  type?  What 
(solid) 

List  of  Characlci. 


How  is  one  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant 
to  their  eyes?  Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design  is.  partly,  its 
excellent  practical  fitness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good  chair  has  all  of 
its  parts  made  nicely  to  the  right  size  to  do  exactly  the 
work  that  the  chair  has  to  do.  neither  clumsy  and 
thick,  nor  "skinny"  and  weak,  no  waste  of  material 
and  no  lack  of  strength.  And.  beyond  that,  the  chair 
may  have  been  made  by  a  man  who  worked  out  in  it 
his  sense  of  fine  shapes  and  curves  and  proportions:  it 
may  be.  actually,  a  work  of  art.  The  same  thing  holds 
for  shapes  of  letters.  And  your  chair,  or  your  letter  (if 
a  true  artist  made  it)  will  have,  besides  its  good  looks, 
a  suitability  to  the  nth  degree  to  be  sat  in.  or  stamped 
on  paper  and  read.  That  explains,  in  a  way.  why  the 
experts  rave  over  the  fine  shapes  of  letters;  but  it  fails 
to  explain  wherein  the  shapes  are  fine.  If  you  seek  to 
go  further  with  the  inquiry,  theories  will  be  your  only 
answer.  Here  is  a  theory  that  the  proponent  thinks 
may  have  sense  in  it:  Fine  type  letters  were,  in  the 
first  place,  copies  of  fine  written  letters.  Fine  written 
letters  were  fine  because  they  were  produced  in  the 
most  direct  and  simple  way  by  a  tool  in  the  hands  of  a 
( inw  point  leaded) 


s  III  Two-Lcttcr  Font 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 

abcdefghijklmnopqrstuvwxyzasoefiflffffiffl  1234567890  $£..:;-"■>!-[—       .  .  .(  )rai1j*tHK]'J 
abcdefghijklmnopqrstuvwxyzajcefiflffmm  1234567890  $£..:;-"?:-.—. . .        0@tb*tt1I§[]% 

1234567890         1234567890 

1234567890  1234567890 


Figures.  .0415- 


-  Figures.  .050 


Matiix  Infoniiatioii :  5A32.  Lower  case  alphabet,  95  points.  Figures.  .0415  or  .050;  c<:nunia.  period  and  thin  space,  .02 
in  90  channel  magazine.  Code  word,  ZATHO. 


(t.c  LINOTYPE"") 

51/2  Point  •  ' 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY 
DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  OF  TYPE?  WHAT 

How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace-mak- 
ers in  the  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it  so  superla- 
tively pleasant  to  their  eyes?  Good  design  is  always 
practical  design.  And  what  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fitness  to 
perform  its  work.  It  has  a  "heft"  and  balance  in  all 
of  its  parts  just  right  for  its  size,  as  any  good  tool 
has.  Your  good  chair  has  all  of  its  parts  made  nicely 
to  the  right  size  to  do  exactly  the  work  that  the  chair 
has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and 
weak,  no  waste  of  material  and  no  lack  of  strength. 
And,  beyond  that,  the  chair  may  have  been  inade  by 
a  man  who  worked  out  in  it  his  sense  of  fine  shapes 
and  curves  and  proportions:  it  may  be,  actually,  a 
work  of  art.  The  same  thing  holds  for  shapes  of  let- 
ters. And  your  chair,  or  your  letter  lif  a  true  artist 
made  it  I  will  have,  besides  its  good  looks,  a  suita- 
(.iiu-  fuint  leaded  I 

How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace-mak- 
ers in  the  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it  so  superla- 
tively pleasant  to  their  eyes?  Good  design  is  always 
practical  design.  And  what  they  see  in  a  g  j  pq  y 
(Set  with  long  descenders,  on  six  point  body) 
I  Two-Letter  Font 


How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace-mak- 
ers in  the  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it  so  superla- 
tively pleasant  to  their  eyes?  Good  design  is  always 
practical  design.  And  what  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fitness  to 
perform  its  work.  It  has  a  "heft"  and  balance  in  all 
of  its  parts  just  right  for  its  size,  as  any  good  tool 
has.  Your  good  chair  has  all  of  its  parts  made  nicely 
to  the  right  size  to  do  exactly  the  work  that  the  chair 
has  to  do.  neither  clumsy  and  thick,  nor  "skinny"  ancl 
weak,  no  waste  of  material  and  no  lack  of  strength. 
And,  beyond  that,  the  chair  may  have  been  made  by 
a  man  who  worked  out  in  it  his  sense  of  fine  shapes 
and  curves  and  proportions:  it  may  be.  actually,  a 
work  of  art.  The  same  thing  holds  for  shapes  of  let- 
ters. And  your  chair,  or  your  letter  (if  a  true  artist 
made  it)  will  have,  besides  its  good  looks,  a  suita- 
bility to  the  nth  degree  to  be  sat  in,  or  stamped  on 
paper  and  read.  That  explains,  in  a  way,  why  the 
experts  rave  over  the  fine  shapes  of  letters;  but  it 
fails  to  explain  wherein  the  shapes  are  fine.  If  you 
seek  to  go  further  with  the  inquiry,  theories  will  be 
your  only  answer.  Here  is  a  theory  that  the  propo- 

( solid) 

COUPLE,  Japanese;  excellent  cook,  butler,  cham- 
bermaid, seamstress;  willing  and  respectful;  good 
workers;  entire  charge:  go  anywhere;  highly  recom- 
mended from  employer.  C  139  Herald  T     Q  g  j  p  Q  y 


(Set  14  lines  to  the 


■ith  sh, 


rt  descenders) 

List  of  Charade 


ABCDEFGHIJKLMNOPQRSTUVWXYZ&ffiCE 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 

abcdefghiiklmnopqrstuvwxvzseoefiflffffiffl  1234567890  $£,.:;-"?!-!—       .  . .  ( )  ft  tb 
abcdetghijklmnopqrstuvwxyzaecefinffffiffl  1234.">(i78!)0  $£,.:;-"?!- 

1234567890         1234567890 
ISSLWISUO         12;{456"K90 


tfHl^..    '/8'/4%'''2%%'! 


Figures.  .046- 


]\latriT 
Ivuns  ii 


Information :  5''A4.^.  Lower  case  alphahet. 
90  channel  magazine.  Code  word,  ZACNE. 


TOO  points.   Figures.   .04fj 


()@tt)*t?1Ign%  '.8>,4%V2%?iT« 
Figures. .050 
.050;  c<'ninia,  period  and  tliin  space,   .027 


5'/2 


361 


6 


LIIVOTYPE    EXCELSIOR    WITH    BOLD    FACE    IVo.    2 


6  Point 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN? 
WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  OF  TY 


How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  design 
is  always  practical  design.  And  what  they  see  in 
a  good  type  design  is.  partly,  its  excellent  prac- 
tical fitness  to  perform  its  work.  It  has  a  "heft" 
and  balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good  chair  has  all 
of  its  parts  made  nicely  to  the  right  size  to  do  ex- 
actly the  work  that  the  chair  has  to  do.  neither 
clumsy  and  thick,  nor  "skinny"  and  weak,  no 
waste  of  material  and  no  lack  of  strength.  And. 
beyond  that,  the  chair  may  have  been  made  by  a 
man  who  worked  out  in  it  his  sense  of  fine  shapes 
and  curves  and  proportions:  it  may  be,  actually, 
a  work  of  art.  The  same  thing  holds  for  shapes  of 
letters.  And  your  chair,  or  your  letter  (if  a  true 
artist  made  it)  will  have,  besides  its  good  looks, 
a  suitability  to  the  nth  degree  to  be  sat  in.  or 
stamped  on  paper  and  read.  That  explains,  in  a 
way,  why  the  experts  rave  over  the  fine  shapes  of 
letters;  but  it  fails  to  explain  wherein  the  shapes 
are  fine.  If  you  seek  to  go  further  with  the  in- 
quiry, theories  will  be  your  only  answer.  Here  is 
How  is  one  to  assess  arid  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 


t  ^nlui) 


How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  design 
is  always  practical  design.  And  what  they  see  in 
a  good  type  design  is,  partly,  its  excellent  prac- 
tical fitness  to  perform  its  work.  It  has  a  "heft" 
and  balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good  chair  has  all 
of  its  parts  made  nicely  to  the  right  size  to  do  ex- 
actly the  work  that  the  chair  has  to  do,  neither 
clumsy  and  thick,  nor  "skinny"  and  weak,  no 
waste  of  material  and  no  lack  of  strength.  And, 
beyond  that,  the  chair  may  have  been  made  by  a 
man  who  worked  out  in  it  his  sense  of  fine  shapes 
and  curves  and  proportions:  it  may  be,  actually, 
a  work  of  art.  The  same  thing  holds  for  shapes  of 
letters.  And  your  chair,  or  your  letter  (if  a  true 
artist  made  it)  will  have,  besides  its  good  looks, 
a  suitability  to  the  nth  degree  to  be  sat  in,  or 
stamped  on  paper  and  read.  That  explains,  in  a 
way,  why  the  experts  rave  over  the  fine  shapes  of 
letters;  but  it  fails  to  explain  wherein  the  shapes 
are  fine.  If  you  seek  to  go  further  with  the  in- 

(onc  point  leaded) 


List  of  Characters  in  Tzuo-Letter  Font 


ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 

abcdefghijklmnopqrstuvvvxyzaeoefiflffffiffl  1234567890  $£..:;-"?!-'—       . . . () (^ lt)*ttll§[]%  V8V4%V2%¥4T8 
abcdefghijklmnopqrstuvwxyzaecefiflfffflffl  1234567890  ?£,.:  ;-"?!-|— .  .  .        ()@lls*mi§[]%  VaViWAVsW/s 


Matrix  Information :  6A314.  Lower  case  alphabet.  107  points.  Figures.  .0434;  comni.i 
channel  magazine.  Code  word.  ZACOC. 


I)erio(l  and  thin  space.  .027 


Kuns 


-(°  LINOTYPE"  "> 


7  Point  IVo.  3 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  D 
WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FAC 

How  is  one  to  assess  and  evaluate  a  type  face 
in  terms  of  its  esthetic  design?  Why  do  the 


How  is  one  to  assess  and  evaluate  a  type  face 
in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over 
a  specific  face  of  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design  'j, 
partly,  its  excellent  practical  fitness  to  per- 
form its  work.  It  has  a  "heft"  and  balance  in 
all  of  its  parts  just  right  for  its  size,  as  any 
good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  ex- 
actly the  work  that  the  chair  has  to  do,  neither 
clumsy  and  thick,  nor  "skinny"  and  weak,  no 
waste  of  material  and  no  lack  of  strength. 
And,  beyond  that,  the  chair  may  have  been 
made  by  a  man  who  worked  out  in  it  his  sense 
of  fine  shapes  and  curves  and  proportions:  it 
may  be,  actually,  a  work  of  art.  The  same 
How  is  one  to  assess  and  evaluate  a  type  face 
in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over 

(solid) 

List  of  Cliaractcr 


pace-makers  in  the  art  of  printing  rave  over 
a  specific  face  of  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design  is, 
partly,  its  excellent  practical  fitness  to  per- 
form its  work.  It  has  a  "heft"  and  balance  in 
all  of  its  parts  just  right  for  its  size,  as  any 
good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  ex- 
actly the  work  that  the  chair  has  to  do,  neither 
clumsy  and  thick,  nor  "skinny"  and  weak,  no 
waste  of  material  and  no  lack  of  strength. 
And,  beyond  that,  the  chair  may  have  been 
made  by  a  man  who  worked  out  in  it  his  sense 
of  fine  shapes  and  curves  and  proportions:  it 
may  be,  actually,  a  work  of  art.  The  same 

(one  point  leaded) 
I  Tleo-Lettcr  Font 


ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&^(E 

abcdefghijklmnopqrstuvwxyzaeoefiflffffiffl  1234567890  $£,.;;-"?!-|— 

V8y4%V2%%y8 

abcdefghijklmnopqrstuvwxyzaecefiflfrffiffl  1234567890  $£,.:;-"?'.-;— .  .  . 


,  ()(S'm*ttii§[]' 


Matrix  Information  :  7t\\3b.  Luuer  case  alphabet.  113  points.  Figures.  .0353; 
channel  magazine.  Code  word.  Z.^BRU. 


connna,  period  and  thin  space,  .0377.  Runs  in  90 


362 


LIIVOTYPE    EXCELSIOR    WITH    BOLD    FACE    IVo.    2 


7  Point  IVo.  I 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE 
DESIGN?  WHY  DO  THE  PACE-MAKERS  IN 
How  is  one  to  assess  and  evaluate  a  type  face 
in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over 
a  specific  face  of  type?  What  do  they  see  in 
it?  Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design  is, 
partly,  its  excellent  practical  fitness  to  per- 
form its  work.  It  has  a  "heft"  and  balance  in 
all  of  its  parts  just  right  for  its  size,  as  any 
good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do 
exactly  the  work  that  the  chair  has  to  do. 
neither  clumsy  and  thick,  nor  "skinny"  and 
weak,  no  waste  of  material  and  no  lack  of 
strength.  And,  beyond  that,  the  chair  may 
have  been  made  by  a  man  who  worked  out 
in  it  his  sense  of  fine  shapes  and  curves  and 
How  is  one  to  assess  and  evaluate  a  type  face 
in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over 


A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC 
THE  ART  OF  PRINTING  RAVE  OVER  A  SP 
How  is  one  to  assess  and  evaluate  a  type  face 
in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over 
a  specific  face  of  type?  What  do  they  see  in 
it?  Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design  is, 
partly,  its  excellent  practical  fitness  to  per- 
form its  work.  It  has  a  "heft"  and  balance  in 
all  of  its  parts  just  right  for  its  size,  as  any 
good  tool  has.  Your  good  chair  has  all  of  its 

("mil-  fu'ltl  Uiuh-d) 

How  is  one  to  assess  and  evaluate  a  type  face 
in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over 
a  specific  face  of  type?  What  do  they  see  in 
it?  Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  pract    g  j  p  q  y 


(Si-t  mth  Um<j  tic 


T-cu-LcHc-i  r.: 


List  ../  Cluiiac 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 

abcdefghijklmnopqrstuvwxvzaeoefififfflaffl  1234567890  $£,.:;-"?!-  — 
abcdefghijklmnopqrstuvwxyzaeoefiflfTffiffl  1234567890  $£,.:;-"?! 

y8y4%V2%%% 


cig!it  poiitl  body) 


I  )fi'Tb*ti11§[]^ 

i)@tb*tn§[]% 


Miiti  i.r  lujiirmation  : 
tli.innil  ni.iga/ine.  C( 


7l\\i^.  Lower  case 
•leword.  Z.\(.  FU. 


;ilpliali<-t.    IIHpnints.   I'iKures.  .055.1: 


(LINOTYPE     ) 

71/a  Point  " 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHE 
DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER 

How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  type?  What  do 
they  see  in  it?  Why  is  it  so  superlatively 
pleasant  to  their  eyes?  Good  design  is  al- 
ways practical  design.  And  what  they  sec 
in  a  good  type  design  is,  partly,  its  excel- 
lent practical  fitness  to  perform  its  work. 
It  has  a  "heft"  and  balance  in  all  of  its 
parts  just  right  for  its  size,  as  any  good  tool 
has.  Your  good  chair  has  all  of  its  parts 
made  nicely  to  the  right  size  to  do  exactly 
the  work  that  the  chair  has  to  do,  neither 
clumsy  and  thick,  nor  "skinny"  and  weak, 
no  waste  of  material  and  no  lack  of  strength. 
And.  beyond  that,  the  chair  may  have  been 
How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing 


7'/2 


How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  estlietic  design?  Why 
do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  type?  What  do 
they  see  in  it?  Why  is  it  so  superlatively 
pleasant  to  their  eyes?  Good  design  is  al- 
ways practical  design.  And  what  they  see 
in  a  good  type  design  is,  partly,  its  excel- 
lent practical  fitness  to  perform  its  work. 
It  has  a  "heft"  and  balance  in  all  of  its 
parts  just  right  for  its  size,  as  any  good  tool 
has.  Your  good  chair  has  all  of  its  parts 
made  nicely  to  the  right  size  to  do  exactly 
the  work  that  tlie  chair  has  to  do,  neither 
clumsy  and  thick,  nor  "skinny"  and  weak, 
no  waste  of  material  and  no  lack  of  strength. 
And,  beyond  that,  the  chair  may  have  been 
made  by  a  man  who  worked  out  in  it  his 


List  oj  Characters  in   I  u'o^Lctlcr  Feat 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&/E(E 

abcdefghijklmnopqrstuvwxyzaeoefiflffffiffl  1234567890  $£,.:;-"?!-!— 
abcdefghijklmnopqrstuvwxyzaeoefiflffffiffl  1234567890  $£,.:;-"?!-! — . 

ntiTs  [  ]  %  1/8 1/4  %  i/o  5^  34  % 


. .0(0)  lb 
()@n» 


Matii.r  hifonnaiiou  :  7';A^i-  I.owt-r  case  alphabet.  ]2^  points.  Fit;ures.  .06- 
rh.uuiel  tnaga/ine.  Cn-ie  uotd.  X.W'I  K. 


cnniiiia.  peri.'d  ;iiul  thin  space.  .0311.  Run 


363 


8 


9 


LI]\OTYPE    EXCELSIOR    WITH    BOLD    FACE    No.    2 

8  Point  I\o.  1 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  EST 
DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER 

How  is  one  to  assess  and  evaluate  a  type  How  is  one  to  assess  and  evaluate  a  type 

face  in  terms  of  its  esthetic  design?  Why  face  in  terms  of  its  esthetic  design?  Why 

do  the  pace-makers  in  the  art  of  printing  do  the  pace-makers  in  the  art  of  printing 

rave  over  a  specific  face  of  type?  Wiiat  do  ^.^ve  over  a  specific  face  of  type?  What  do 

they  see  m  it?  Why  is  it  so  superlatively  .,  „      „     •      T^  ttt,      •    •■       -^ ^       i  ^      i 

pleasant  to  their  eyes?  Good  design  is  al-  "ley  see  m  it?  Why  is  it  so  superlatively 

ways  practical  design.  And  what  they  see  Pheasant  to  their  eyes?  Good  design  is  al- 

in  a  good  type  design  is,  partly,  its  excel-  ways  practical  design.  And  what  they  see 

lent  practical  fitness  to  perform  its  work,  in  a  good  type  design  is,  partly,  its  excel- 

It  has  a  "heft"  and  balance  in  all  of  its  lent  practical  fitness  to  perform  its  work, 

parts  just  right  for  its  size,  as  any  good  It  has  a  "heft"  and  balance  in  all  of  its 

tool  has.  Your  good  chair  has  all  of  its  (om-  point  u-adcd) 

parts  made  nicely  to  the  right  size  to  do  How  is  one  to  assess  and  evaluate  a  type 

exactly  the  work  that  the  chair  has  to  do  f^ce  in  terms  of  its  esthetic  design?  Why 

neither  clumsy  and  thick,  nor     skinny  ^^  ^^^  pace-makers  in  the  art  of  printing 

How  is  one  to  assess  and  evaluate  a  type  ^^^^  over  a  specific  face  of  type?  What  do 

face  in  terms  of  its  esthetic  design?  Why  they  see  in  it?  Why  is  it  so  superlatively 

do  the  pace-makers  in  the  art  of  printing  pleasant  to  their  eyes?  Good  de     g  j  p  q  y 

'  w'/ii/l  (set  with  long  descenders,  on  nine  fnint  bvdy) 

List  of  CJwraclcrs  in  T-j.'o- Letter  Font 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 
ABCDEFGHIJKLMN0PQRSTUVWXYZ&.5;(E 

abcdefghijklmnopqrstuvwxyzaeoefiflffffiffl  1234567890  $ £,.:;-"? !-|—       .  .  .  ()@1B 

*im[]  %  vs  va  %  1/2  %  %  ys 

abcdefghijklmnopqrstuvwxyzaeoefiflffffiffl  1234567890  §<£,.:;-"?!-!—.  .  .        ()@16 

^^■t1:11§  [  ]  %  V%  \i  %  Vi  %  -M  % 

Matrix  Information  :  8A424.  Lower  case  alphabet.  126  points.  Figures,  .0622;  comma,  period  and  thin  space.  .0311.  Runs  in  90 
channel  magazine.  Code  word.  ZACLU. 

(  PC  LINOTYPE"") 


9  Point 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do 
the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do 
they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  al- 
ways practical  design.  And  what  they  see  in  a  good  type  design  is,  partly,  its  excel- 
lent practical  fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its 
parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts 
made  nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither 
clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of  material  and  no  lack  of 
strength.  And,  beyond  that,  the  chair  may  have  been  made  by  a  man  who  worked 
out  in  it  his  sense  of  fine  shapes  and  curves  and  proportions:  it  may  be,  actually,  a 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do 
the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do 
they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  al- 

llteu  fomt  leaded) 
List  of  diameters  in  Two-Letter  Font 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&^(E 

abcdefghijklmnopqrstuvwxyz3eoefiflffffiflE11234567890  $  £,.:;-"?!-!— 

(  )  @  tb  *  tt  H  §  [  ]  ^.    Vs  1/4  %  1/2  %  %  % 

abcdefghijklmnopqrstuvwxyzaeoefiflffffiffl  1234567890  $£,.:;-"?!-!— .  .  . 

()  @  lt)=i=tt1I§[  ]%  VS  1/4  %  1/2  %  3/4  % 
Matrix  Injormation  :  9A136.  Lower  case  alphabet.  133  points.  Figures,  .0692;  comma,  period  and  thin  space,  .0346.  Runs  in  90 
channel  magazine.  Code  word,  ZATDA. 


364 


LINOTYPE    EXCELSIOR    WITH     KOLl)     FACE    I\o.    2 

10  Point 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type? 
What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good 
design  is  always  practical  design.  And  what  they  see  in  a  good  type  design  is, 
partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good 
chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly  the  work 
that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no 

((Tr-  I'vnit  h;idcd) 

How  is  one  to  assess  and  evaluate  a  How  is  one  to  assess  and  evaluate  a 
type  face  in  terms  of  its  esthetic  de-  type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the     sign?  Why  do  the  pace-mak    g  j  p  q  y 

'""'""  Isc!  icUh  loiuj  J,-sc,-inlcis.  ,n,  <■/,■;■>■»  /-.-u./  h'ily} 

Liil  I'l  Cliaiattcis  in  l  uhi-Li-tlcr  Font 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&^(E 

abcdefghijklmnopqrstuvwxyzsecefiflffffiffl  1234567890  $£,.:;-"? !-[— 

()@Th^'-i-:i:«:§[]  ri  1/81/4%  ¥2%%% 

abcdefghijklmnopqrstuvwxyzajoefiflffffiffl  1234567890  $<£,.:;-"?!-  —  .  .  . 

()@tb*tii]§[]%  y8y4%yry8%% 

iValiir  lufinwation  KIA'SO.  l.nwcr  raso  .-iliilKiIu-t .  1-I-'  imiiils,  IML:l^-^^.  fl'.vj;  r,,imn;i.  iK-riMtl  and  lliiii  sp.u.-.  .al-tf,,  Kuns  in  '«) 
.li.unul  iii.iKa/ine.  Code  w..rcl.  ZACSf. 


10 


-(LINOTYPE     ) I  I 


1 1  Point 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to 
their  eyes?  Good  design  is  always  practical  design.  And  what  they  see  in  a 
good  type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its 
work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the 
right  size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to 

(/;(..'  /■,..;.(  /,■,!,/,,/- 
/.;,(/  .'/■  CluiKUl.-i^  ill    l-ci-l.rtlri    /-.'lit 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&^(E 

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...()r^m*v;!:1Ti;n''^  i<^'/i-;n'i;^s-;i's 
abcdefghijklmnopqrstuvwxyzaeoefiflffffiffl  1234567890  $£, .:;-"?!-  — 

...     ()(a  ^mn-m  1 1  %  Vs  v*  %  \^  %  %  % 

Miilrix  Inim-watinn:  IIAI~S.  Inupr  lasc  alplial.rl,  l"^!  points.  Figures.  .07r,l  ;  cimiina.  pcrind  and  lliiii  space.  .0!8.  Runs  in  90 
diaiiriel  iTiaK.i/iiic.  Code  w.ird.  Zi;S.\A. 


365 


12 


LIIVOTYPE    EXCELSIOR    WITH    BOLD    FACE    No.    2 

12  Point 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TE 
OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant 
to  their  eyes?  Good  design  is  always  practical  design.  And  what  they 
see  in  a  good  type  design  is,  partly,  its  excellent  practical  fitness  to  per- 
form its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for 
its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made 
nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do, 
neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of  material 
and  no  lack  of  strength.  And,  beyond  that,  the  chair  may  have  been 
made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and  curves 
and  proportions:  it  may  be,  actually,  a  work  of  art.  The  same  thing 
holds  for  shapes  of  letters.  And  your  chair,  or  your  letter  (if  a  true  art- 
ist made  it)  will  have,  besides  its  good  looks,  a  suitability  to  the  nth  de- 
gree to  be  sat  in,  or  stamped  on  paper  and  read.  That  explains,  in  a  way, 
why  the  experts  rave  over  the  fine  shapes  of  letters;  but  it  fails  to  ex- 
plain wherein  the  shapes  are  fine.  If  you  seek  to  go  further  with  the 
inquiry,  theories  will  be  your  only  answer.  Here  is  a  theory  that  the 
proponent  thinks  may  have  sense  in  it:  Fine  type  letters  were,  in  the 
first  place,  copies  of  fine  written  letters.  Fine  written  letters  were  fine 
because  they  were  produced  in  the  most  direct  and  simple  way  by  a 
tool  in  the  hands  of  a  person  expert  in  its  use,  by  a  person,  moreover, 
who  was  an  artist,  i.e.,  a  person  equipped  to  make  sound  judgments 
about  lines,  curves,  proportion?,  etc.  The  artist  of  that  moment  when 
printing  was  invented  who  furnished  the  fine  written  patterns  for  type 
was  (luckily  for  printing)  working  at  the  top  notch  of  a  fine  tradition 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant 

(t-u<o  foini  leaded) 
List  of  Characters  in  Tzi'o-Letter  Font 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&^(E 

abcdefghijklmnopqrstuvwxyzseoefiflffffiffl  1234567890$£, .:;-"?!-!— 

abcdefghijklmnopqrstuvwxyzseoefiflffffiffl  1234567890  $£,.:;-"?!-!— 

. . .     ()@tfe*ffl§[]%  V8y4%y2%%% 

Matrix  hijurmation:  12A37S.  Lower  case  alphabet,  1  5H  points.  Figures.  .083;  ajiiinia,  period  and  Ihiii  space,  .0415.  Runs  in  90 
channel  magazine.  Code  word.  ZAVSA. 


366 


LINOTYPE    EXCKLSIOR    WITH    ROED    FACE    IVo.    2 

U  Point 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  I 
TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE- 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  es- 
thetic design?  Why  do  the  pace-makers  in  the  art  of  printing  rave 
over  a  specific  face  of  type?  What  do  they  see  in  it?  Wliy  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  design  is  always  prac- 
tical design.  And  what  they  see  in  a  good  type  design  is,  partly,  its 
excellent  practical  fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool 
has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right 
size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy 
and  thick,  nor  "skinny"  and  weak,  no  waste  of  material  and  no 
lack  of  strength.  And,  beyond  that,  the  chair  may  have  been  made 
by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and  curves 
and  proportions:  it  may  be,  actually,  a  work  of  art.  The  same 
thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  letter  (if 
a  true  artist  made  it)  will  have,  besides  its  good  looks,  a  suitabil- 
ity to  the  nth  degree  to  be  sat  in,  or  stamped  on  paper  and  read. 
That  explains,  in  a  way,  why  the  experts  rave  over  the  fine  shapes 
of  letters;  but  it  fails  to  explain  wherein  the  shapes  are  fine.  If  you 
seek  to  go  further  with  the  inquiry,  theories  will  be  your  only  an- 
swer. Here  is  a  theory  that  the  proponent  thinks  may  have  sense 
in  it:  Fine  type  letters  were,  in  the  first  place,  copies  of  fine  writ- 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  es- 
thetic design?  Why  do  the  pace-makers  in  the  art  of  printing  rave 
over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so 

(lzi.'ii  p^Juit  leaded) 
List  ,)/  Chayailfis  i/i  Tze.i-I.ilt,-}  Font 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&^(E 

abcdefghijklmnopqrstuvwxyzaeoefiflfffhffl  1234567890  $£,.:;-" 

?!-i-       .  .  .  ()@Tbnt1I§[]%  VU  14  %  V.  ^s  ^U  '. 
abcdefghijklmnopqrstuvwxyzseoefiflffffif!11234567890$£..:;-" 

?!-  —  ...       ()@tb*t1:1l§[]%%^%^%%% 

Maliix  h\lfr>nalivii  Ui-M.  Lower  else  ali>h.il)ut,  171  points.  Figures.  .0908;  Cdmina.  rcri.id  and  thin  space.  .0484.  Runs  in  90 
thanncl  Tnat'aziiie.  Ctjcle  wurii,  ZF.KVU. 


14 


367 


LIIVOTYPE    EXCELSIOR    WITH    GOTHIC    No.    3 


5  Point 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO 
THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  OF  TYPE?  WHAT  DO  TH 

How  is  one  to  assess  and  evaluate  a  type  face  in  ternis 


How  is  one  to  assess  and  evaluate  a  type  face  in  ternns 
of  its  estlietic  design?  Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant 
to  their  eyes?  Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design  is,  partly,  its 
excellent  practical  fitness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good  chair  has  all  of 
its  parts  made  nicely  to  the  right  size  to  do  exactly  the 
work  that  the  chair  has  to  do,  neither  clumsy  and 
thick,  nor  "skinny"  and  weak,  no  waste  of  material 
and  no  lack  of  strength.  And.  beyond  that,  the  chair 
may  have  been  made  b.v  a  man  who  worked  out  in  it 
his  sense  of  fine  shapes  and  curves  and  proportions:  it 
may  be,  actually,  a  work  of  art.  The  same  thing  holds 
for  shapes  of  letters.  And  your  chair,  or  your  letter  (if 
a  true  artist  made  it)  will  have,  besides  its  good  looks. 
a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped 
on  paper  and  read.  That  explains,  in  a  way,  why  the 
experts  rave  over  the  fine  shapes  of  letters:  but  it  fails 
to  explain  wherein  the  shapes  are  fine.  If  you  seek  to 
go  further  with  the  inquiry,  theories  will  be  your  onl.y 
answer.  Here  is  a  theory  that  the  proponent  thinks 
may  have  sense  in  it:  Fine  type  letters  were,  in  the 
first  place,  copies  of  fine  written  letters.  Fine  written 
letters  were  fine  because  they  were  produced  in  the 
most  direct  and  simple  way  by  a  tool  in  the  hands  of  a 
person  expert  in  its  use,  by  a  person,  moreover,  who 
was  an  artist,  i.e..  a  person  equipped  to  make  sound 
judgments  about  lines,  curves,  proportions,  etc.  The 
artist  of  that  moment  when  printing  was  invented  who 
furnished  the  fine  written  patterns  for  type  was  (luck- 
ily for  printing)  working  at  the  top  notch  of  a  fine  tra- 
dition of  calligraphv.  He  was  making  sound  judgments 
about  lines  and  curves  and  proportions  of  letters.  He 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  of  type?  What 


of  its  esthetic  design?  Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlativel.v  pleasant 
to  their  eyes?  Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design  is,  partly,  its 
excellent  practical  fitness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good  chau-  has  all  of 
its  parts  made  nicely  to  the  right  size  to  do  exactly  the 
work  that  the  chair  has  to  do,  neither  clumsy  and 
thick,  nor  "skinny"  and  weak,  no  waste  of  material 
and  no  lack  of  strength.  And,  beyond  that,  the  chair 
may  have  been  made  by  a  man  who  worked  out  in  it 
his  sense  of  fine  shapes  and  curves  and  proportions:  it 
may  be,  actually,  a  work  of  art.  The  same  thing  holds 
for  shapes  of  letters.  And  your  chair,  or  your  letter  (if 
a  true  artist  made  it)  will  have,  besides  its  good  looks, 
a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped 
on  paper  and  read.  That  explains,  in  a  way,  why  the 
experts  rave  over  the  fine  shapes  of  letters;  but  it  fails 
to  explain  wherein  the  shapes  are  fine.  If  you  seek  to 
go  further  with  the  inquiry,  theories  will  be  your  only 
answer.  Here  is  a  theory  that  the  proponent  thinks 
may  have  sense  in  it:  Fine  type  letters  were,  in  the 
first  place,  copies  of  fine  written  letters.  Fine  written 
letters  were  fine  because  they  were  produced  in  the 
most  direct  and  simple  way  by  a  tool  in  the  hands  of  a 
person  expert  in  its  use,  by  a  person,  moreover,  who 
was  an  artist,  i.e..  a  person  equipped  to  make  sound 
judgments  about  lines,  curves,  proportions,  etc.  The 
artist  of  that  moment  when  printing  was  invented  who 
(one  point  leaded) 


(solid) 

abcdefghijklmnopqrstuvwxyz&.;ece 
abcdefghijkliv1n0pqrstuvwxyz&/ece 

abcdefghiiklmnopqrstuvwxvzseoefifllTffiffl  1234567890  $£..:;-"?!-|—       . . .  OffiiHintHn^  "s''4%',2V8='4'''8 
abcdefghijklmnopqrstuvwxyzeecefiflffffiffi  1234567890  $f,.:;-"?!-|— - . .       ()@tb*tM§[]%  VaVi%VzVaVAVa 


Matrix  Information:  5A36.  Lower  case  alphabet,  95  points.  Figures,  .0415:  coinn 
channel  magazine.  Code  word,  ZAZAC. 


period  and  thin  space.  .0277.  Runs  in  90 


5Va 


(.  LINOTYPE     ) 

-  51/3  Point 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY 
DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  OF  TYPE?  WHAT 


How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace-mak- 
ers in  the  art  of  printing  rave  over  a  specific  face  of 
type?  Wlrat  do  they  see  in  it?  Why  is  it  so  superla- 
tively pleasant  to  tlieir  eyes?  Good  design  is  always 
practical  design.  And  what  they  see  in  a  good  type 
design  is.  partly,  its  excellent  practical  fitness  to 
perform  its  work.  It  has  a  "heft"  and  balance  in  all 
of  its  parts  just  right  for  Its  size,  as  any  good  too. 
has.  Your  good  chair  has  all  of  its  parts  made  nicely 
to  the  right  size  to  do  exactly  the  work  that  the  chair 
has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and 
weak,  no  waste  of  material  and  no  lack  of  strength. 
And,  beyond  that,  the  chair  may  have  been  made  by 
a  man  who  worked  out  in  it  his  sense  of  fine  shapes 
and  curves  and  proportions:  it  may  be,  actually,  a 
work  of  art.  The  same  thing  holds  for  shapes  of  let- 
ters. And  your  chair,  or  your  letter  (if  a  true  artist 
made  it)  will  have,  besides  its  good  looks,  a  suita- 
bility to  the  nth  degree  to  be  sat  in.  or  sta.nped  on 
paper  and  read.  That  explains,  in  a  way,  why  the 
experts  rave  over  the  fine  shapes  of  letters;  but  it 
fails  to  explain  wherein  the  shapes  are  fine.  If  you 
seek  to  go  further  with  the  inquiry,  theories  will  be 
your  only  answer.  Here  is  a  theory  that  the  propo- 
nent thinks  may  have  sense  in  it:  Fine  type  letters 
■were,  in  the  first  place,  copies  of  fine  written  letters. 
Fine  written  letters  were  fine  because  they  were 
produced  in  the  most  direct  and  simple  way  by  a 
tool  in  the  hands  of  a  person  expert  in  its  use,  by  a 
person,  moreover,  who  was  an  artist,  i.e.,  a  person 
How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace-mak- 
ers in  the  art  of  printing  rave  over  a  specific  face  of 
Cc.'/frf) 


How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  tlie  pace-mak- 
ers in  the  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it  so  superla- 
tively pleasant  to  their  eyes?  Good  design  is  always 
practical  design.  And  what  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fitness  to 
perform  its  work.  It  has  a  "heft"  and  balance  in  all 
of  its  parts  Just  right  for  its  size,  as  any  good  tool 
has.  Your  good  chair  has  all  of  its  parts  made  nicely 
to  the  right  size  to  do  exactly  the  work  that  the  chair 
has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and 
weak,  no  waste  of  material  and  no  lack  of  strength. 
And,  beyond  that,  the  chair  may  have  been  made  by 
a  man  who  worked  out  in  it  his  sense  of  fine  shapes 
and  curves  and  proportions:  it  may  be,  actually,  a 
work  of  art.  The  same  thing  holds  for  shapes  of  let- 
ters. And  your  chair,  or  your  letter  (if  a  true  artist 
made  it)  will  have,  besides  its  good  looks,  a  suita- 
bility to  the  nth  degree  to  be  sat  in,  or  stamped  on 
paper  and  read.  That  explains,  in  a  way,  why  the 
experts  rave  over  the  fine  shapes  of  letters;  but  it 
fails  to  e.xplain  wherein  the  shapes  are  fine.  If  you 
seek  to  go  further  with  the  inquiry,  theories  will  be 
your  only  answer.  Here  is  a  theory  that  the  propo- 
nent thinks  may  have  sense  in  it:  Fine  type  letters 
were,  in  the  first  place,  copies  of  fine  written  letters. 
Fine  written  letters  were  fine  because  they  were 
produced  in  the  most  direct  and  simple  way  by  a 
(one  point  leaded) 


abcdefghijklmnopqrstuvwxyz&^ct: 
abcdefghijklmnopqrstuvwxyz&/ece 

abcdefghiiklmnopqrstuvwxvzaeoefiflffffiffl  1234.567890  S£.. :;-"?!-!—       . . .  O  (o  lt)*tn§r]%  '/a'/4%"/2%%''/8 
abcdefghijklmnopqrstuvwxyzsecefiflffffiffi  1234567890  $£,.:;-"?H—- ■  ■        ()(SIb*ttll§[]%  '/8/4%'/2=/s%78 

ATatri.v  Information  :  5^<A54.  Lower  case  alphabet.  100  points.  Figures.  .046:  comma,  period  and  thin  space,  .0277.  Runs  in  90 

channel  magazine.  Code  word.  ZECYA. 


368 


LINOTYPE    EXCELSIOR    WITH    GOTHIC    IVo.    3 


(»  Point 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN? 
WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  OF 


How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  design 
is  always  practical  design.  And  what  they  see  in  a 
good  type  design  is,  partly,  its  excellent  practical 
fitness  to  perform  its  woVk.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  Just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  exactly 
the  work  that  the  chair  has  to  do,  neither  clumsy 
and  thick,  nor  "skinny"  and  weak,  no  waste  of 
material  and  no  lack  of  strength.  And.  beyond 
that,  the  chair  may  have  been  made  by  a  man 
who  worked  out  in  it  his  sense  of  fine  shapes  and 
curves  and  proportions :  it  may  be,  actually  a 
work  of  art.  The  same  thing  holds  for  shapes  of 
letters.  And  your  chair,  or  your  letter  (if  a  true 
artist  made  it)  will  have,  besides  its  good  looks, 
a  suitability  to  the  nth  degree  to  be  sat  in,  or 
stamped  on  paper  and  read.  That  explains,  in  a 
way,  why  the  experts  rave  over  the  fine  shapes  of 
letters;  but  it  fails  to  explain  wherein  the  shapes 
are  fine.  If  you  seek  to  go  further  with  the  inquiry, 
How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
(solid) 

List  of  Chayact. 


How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  design 
is  always  practical  design.  And  what  they  see  in  a 
good  type  design  is,  partly,  its  excellent  practical 
fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  exactly 
the  work  that  the  chair  has  to  do,  neither  clumsy 
and  thick,  nor  "skinny"  and  weak,  no  waste  of 
material  and  no  lack  of  strength.  And,  beyond 
that,  the  chair  may  have  been  made  by  a  man 
who  worked  out  in  it  his  sense  of  fine  shapes  and 
curves  and  proportions :  it  may  be,  actually  a 
work  of  art.  The  same  thing  holds  for  shapes  of 
letters.  And  your  chair,  or  your  letter  (if  a  true 
artist  inade  it)  will  have,  besides  its  good  looks, 
a  suitability  to  the  nth  degree  to  be  sat  in,  or 
stamped  on  paper  and  read.  That  explains,  in  a 
way,  why  the  experts  rave  over  the  fine  shapes  of 
letters;  but  it  fails  to  explain  wherein  the  shapes 

t.'iH-  I;, lilt  leaded) 
s  ill  Two-Letter  Font 


ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 
ABCDEFGHIJKL1V1N0PQRSTUVWXYZ<S,/E(I 


abcdefghijklmnopqrstuvwxyzajcefiflffffiffl  !234567890  $£,. 
abcdefghijklmnopqrstuvwxyz^cefiflffffiffl  1234567890  $£,. 

Matiix  hijurmaluni :  CAJOfi.  Lower  case  alpli.ilict,  KlJ  iicniil-.    I'lk-nrt- 
Lhannel  iiiag.a/ine.  Code  word.  ZEKAY. 


;-"?!-!—.  .  .  ()@tt)*ttll§[]%  ^8!/4^8'/2%y4% 

.II4S4;  cuiiiiiia,  iicni.d  and  thin  space.  .U.liJ.  Runs  mi  90 


6 


-("LINOTYPE"  ■> 


7  Point  IVo.  2 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  D 
WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FAC 


How  is  one  to  assess  and  evaluate  a  type  face 
in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over 
a  specific  face  of  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design  is, 
partly,  its  excellent  practical  fitness  to  per- 
form its  work.  It  has  a  "heft"  and  balance  in 
all  of  its  parts  just  right  for  its  size,  as  any 
good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  ex- 
actly the  work  that  the  chair  has  to  do,  neither 
clumsy  and  thick,  nor  "skinny"  and  weak,  no 
waste  of  material  and  no  lack  of  strength. 
And,  beyond  that,  the  chair  may  have  been 
made  by  a  man  who  worked  out  in  it  his  sense 
of  line  shapes  and  curves  and  proportions:  it 
may  be,  actually,  a  work  of  art.  The  same 

How  is  one  to  assess  and  evaluate  a  type  face 
in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over 

(solid) 


List  of  Charaetei  s  in  Two-Lette 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^a: 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&/ECE 

abcdefghijklmnopqrstuvwxyzaeoefiflfffliffl  1234567890  $£,.:;-'"?!-!— 

Vs  '/i  %  V2  %  %  % 
abcdefghijklmnopqrstuvwxyzaecefiflffffiffi  1234567890  $£,.:;-"?!-!—.  . 


How  is  one  to  assess  and  evaluate  a  type  face 
in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over 
a  specific  face  of  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design  is, 
partly,  its  excellent  practical  fitness  to  per- 
form its  work.  It  has  a  "heft"  and  balance  in 
all  of  its  parts  just  right  for  its  size,  as  any 
good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  ex- 
actly the  work  that  the  chair  has  to  do,  neither 
clumsy  and  thick,  nor  "skinny"  and  weak,  no 
waste  of  material  and  no  lack  of  strength. 
And,  beyond  that,  the  chair  may  have  been 
made  by  a  man  who  worked  out  in  it  his  sense 
of  fine  shapes  and  curves  and  proportions:  it 
may  be,  actually,  a  work  of  art.  The  same 
thing  holds  for  shapes  of  letters.  And  your 

(one  foint  leaded) 
Font 


()@tb*tm[]% 


}fatyi.i-  lufiniiHitii-n     7AI-^--  I-n\vcr  c.isc  alph.ihet.  115  puints.  Figures.  .0553;  < 
Lhaiincl  iiiagaxinc.  Code  \vt.)rd.  ZAYID. 


period  and  tliin  spate,  .0277.  Runs  in  90 


369 


LINOTYPE    FXCELSIOR    WITH    GOTHIC    No.   3 


8 


7  Point  No.  I 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC 
DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SP 


How  is  one  to  assess  and  evaluate  a  type  face 
in  terms  of  its  esthetic  design?  Wliy  do  the 
pace-maliers  in  the  art  of  printing  rave  over 
a  specific  face  of  type?  What  do  they  see  in 
it?  Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design  is, 
partly,  its  excellent  practical  fitness  to  per- 
form its  work.  It  has  a  "heft"  and  balance  in 
all  of  its  parts  just  right  for  its  size,  as  any 
good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do 
exactly  the  work  that  the  chair  has  to  do, 
neither  clumsy  and  thick,  nor  "skinny"  and 
weak,  no  waste  of  material  and  no  lack  of 
strength.  And,  beyond  that,  the  chair  may 
have  been  made  by  a  man  who  worked  out 

How  is  one  to  assess  and  evaluate  a  type  face 
in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over 

(salid) 


How  is  one  to  assess  and  evaluate  a  type  face 
in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over 
a  specific  face  of  type?  What  do  they  see  in 
it?  Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  Is  always  practical  design. 
And  what  they  see  in  a  good  type  design  is, 
partly,  its  excellent  practical  fitness  to  per- 
form its  work.  It  has  a  "lieft"  and  balance  in 
all  of  its  parts  just  right  for  its  size,  as  any 
good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  tlie  right  size  to  do 
exactly  the  work  that  the  chair  has  to  do, 
neither  clumsy  and  thick,  nor  "skinny"  and 
weak,  no  waste  of  material  and  no  lack  of 
strength.  And,  beyond  that,  the  chair  may 
have  been  made  by  a  man  who  worked  out 
in  it  his  sense  of  fine  shapes  and  curves  and 

(one  poi)jt  leaded) 


List  of  Characters  in  T-co-Lctter  Font 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 
ABCDEFGHIJKLIVINOPQRSTUVWXYZ&/ECE 

abcdefghijklmnopqrstuvwxyzaeoefiflffffifll  1234567890  $£,.:;-"?!-]— 

y8V4%V2%%% 

abcdefghijklmnopqrstuvwxyzaeoefiflffffiffi  1234567890  $£,.:;-"?!-|— . . , 

!/8'/4%'/2%%% 


..()@ib*ttll§[]% 

()@tt)*tt1I§[]% 


Matrix  Information:  7A156.  Lower  case  alphabet,  118  points.  Figures.  .0553;  comma,  period  and  thin  space,  .0277.  Runs  in  90 
channel  magazine.  Code  word,  ZAVUJ. 


(o  LINOTYPE  ") 

8  Point  No.  2 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHE 
DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER 

How  is  one  to  assess  and  evaluate  a  type 


How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  type?  What  do 
they  see  in  it?  Why  is  it  so  superlatively 
pleasant  to  their  eyes?  Good  design  is  al- 
ways practical  design.  And  what  they  se't 
in  a  good  type  design  is,  partly,  its  excel- 
lent practical  fitness  to  perform  its  work. 
It  has  a  "heft"  and  balance  in  all  of  its 
parts  just  right  for  its  size,  as  any  good  tool 
has.  Your  good  chair  has  all  of  its  parts 
made  nicely  to  the  right  size  to  do  exactly 
the  work  that  the  chair  has  to  do,  neither 
clumsy  and  thick,  nor  "skinny"  and  weak, 
no  waste  of  material  and  no  lack  of  strength. 
How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing 

(solid) 


face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  type?  What  do 
they  see  in  it?  Why  is  it  so  superlatively 
pleasant  to  their  eyes?  Good  design  is  al- 
ways practical  design.  And  what  they  see 
in  a  good  type  design  is,  partly,  its  excel- 
lent practical  fitness  to  perform  its  work. 
It  has  a  "heft"  and  balance  in  all  of  its 
parts  just  right  for  its  size,  as  any  good  tool 
has.  Your  good  chair  has  all  of  its  parts 
made  nicely  to  the  right  size  to  do  exactly 
the  work  that  the  chair  has  to  do,  neither 
clumsy  and  thick,  nor  "skinny"  and  weak, 
no  waste  of  material  and  no  lack  of  strength. 
And,  beyond  that,  the  chair  may  have  been 

(one  point  leaded) 


List  of  Characters  in  Tzvo-Letter  Font 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&/ECE 

abcdefghijklmnopqrstuvwxyzaecefiflflfffiffl  1234567890  $£,. :;-"?!-|- 

*  tt1I§  [  ]  %  Vs  %  %  1/2  %  %  ys 

abcdefghijklmnopqrstuvwxyzaeoefiflffffiffi  1234567890  $£,.:;-"?!-l- 

*tt11§[]%   !/8l/4%!/2%%% 


()@lb 
()@Tb 


Matrix  Information:  8A468.  Lower  case  alphabet,  123  points.  Figures.  .0622;  comma,  period  and  thin  space,  .0311.  Runs  in  90 
channel  magazine.  Code  word,  ZEPAD. 


370 


COMPARISON     OF     SIZES 


Linotype  Excelsior  with  Memphis  Bold 

6  I'oint  if>/\42f,)  l.uwer  tase  aliilialiet.  1(17  points.  Figures,  .0484 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN? 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  estlietic  design?  Why  do  tlie  pace-ma  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN? 
How  is  one  lo  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-ma  1234 

8  I'uint   iHAWJ)  Lower  tase  alpliahel.   !_'(.  p..nits.    I'lKure-,.  ,()Ci22 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  EST 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  d  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  EST 
How  is  one  lo  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  d  1234 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  desi  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF 
Ho^v  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  desi  1234 

12  Point  (12A488)  Lower  case  alphabet.  158  points,  FiKures.  ,08,1 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TE 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthet  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TE 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthet  1234 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  I 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  I 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  1234 


-<     LINOTYPE" »)- 


LIST   OF   CHARACTERS   AVAILABLE    IN    TWO-LETTER    FONTS 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^GE 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&iECE 

abcdef  ghi  j  klmnopqrstuv  wxy  z 
abcdefghijklmnopqrstuvwxyz 

1234567890aeoefiflffffiffl$£,. :;-"?!-—       .  .  .i)(rvrh% 
1234567890aeoefiflffftiffl$£,.:;-"?!-:— .  .  .       ()@lb% 

nt  II  §  n  1/8  V4%i/2%%74 


370  a 


6 


LIIVOTYPE    EXCELSIOR    WITH    MEMPHIS    BOLD 


8 


6  Point 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  T 
FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN? 
How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  design 
is  always  practical  design.  And  what  they  see  in 
a  good  type  design  is.  partly,  its  excellent  prac- 
tical fitness  to  perform  its  work.  It  has  a  "heft" 
and  balance  in  all  of  its  parts  Just  right  for  its 
size,  as  any  good  tool  has.  Your  good  chair  has  all 
of  its  parts  made  nicely  to  the  right  size  to  do  ex- 
actly the  work  that  the  chair  has  to  do,  neither 
clumsy  and  thick,  nor  "skinny"  and  weak,  no 
waste  of  material  and  no  lack  of  strength.  And. 
beyond  that,  the  chair  may  have  been  made  by  a 
man  who  worked  out  in  it  his  sense  of  fine  shapes 
and  curves  and  proportions:  it  may  be,  actually, 
a  work  of  art.  The  same  thing  holds  for  shapes  of 
letters.  And  your  chair,  or  your  letter  (if  a  true 
artist  niade  it)  will  have,  besides  its  good  looks, 
a  suitability  to  the  nth  degree  to  be  sat  in,  or 
stamped  on  paper  and  read.  That  explains,  in  a 

(otte  point  leaded) 

List  oi  Hitirailrrs 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  T 
FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN? 
How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  speciiic 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  design 
is  always  practical  design.  And  what  they  see  in 
a  good  type  design  is,  partly,  its  excellent  prac- 
tical iitness  to  perform  its  work.  It  has  a  "heft" 
and  balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good  chair  has  all 
of  its  parts  made  nicely  to  the  right  size  to  do  ex- 
actly the  work  that  the  chair  has  to  do,  neither 
clumsy  and  thick,  nor  "skinny"  and  weak,  no 
waste  of  material  and  no  lack  of  strength.  And, 
beyond  that,  the  chair  may  have  been  made  by  a 
man  who  worked  out  in  it  his  sense  of  fine  shapes 
and  curves  and  proportions:  it  may  be,  actually, 
a  work  of  art.  The  same  thing  holds  for  shapes  of 
letters.  And  your  chair,  or  your  letter  (if  a  true 
artist  made  it)  will  have,  besides  its  good  looks, 
a  suitability  to  the  nth  degree  to  be  sat  in,  or 
stamped  on  paper  and  read.  That  explains,  in  a 

(one  point  Irndrdl 
I    I  w..-Lctl,i   F^'nt 


ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&.ffi:CE 

abcdefghijklmnopqrstuvwxyzaeoefiflffffiffl  1234567890  $£,.:;-"?!-i—       .  .  .  ( )'"  lt)'tt1§[]%  VaVA^/aYzVe^AVa 
abcdefghijklmnopqrsluvwxyzaeoefiflffHifJl  1234567890  $£,.:;-"?!-|— .  .  .        ()(5)tb*t*1I§[]%  VaV4yaV2VaW/» 


AIti 


rnatiTc  Cltartictfi 

A  JQ&  ag  t 


Matrix  Information :  fiA426.  Lower  case  alphabet.  107  points 
ch.itiiiel  maKa/iiie.  Code  word,  ZT('\'0. 


■.  ai'a liable  as  an  e.vtr 

A  J  Q  &  og  t 

l-'iKures.  .04.V4  ;  cniin;, 


l»erin(I  and  thin  space.  .0277.  Runs  in  90 


-('' LINOTYPE"  »> 


8  Point 


HOW  IS  ONE  TO  ASSESS  AND  EVALU 
A  TYPE  FACE  IN  TERMS  OF  ITS  EST 
How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  type?  What  do 
they  see  in  it?  Why  is  it  so  superlatively 
pleasant  to  their  eyes?  Good  design  is  al- 
ways practical  design.  And  what  they  see 
in  a  good  type  design  is,  partly,  its  excel- 
lent practical  fitness  to  perform  its  work. 
It  has  a  "heft"  and  balance  in  all  of  its 
parts  just  right  for  its  size,  as  any  good 
tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do 
exactly  the  work  that  the  chair  has  to  do, 
neither  clumsy  and  thick,  nor  'skinny" 
and  weak,  no  waste  of  material  and  no 

(one  point  leaded) 


HOW  IS  ONE  TO  ASSESS  AND  EVALU 
A  TYPE  FACE  IN  TERMS  OF  ITS  EST 
How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  type?  What  do 
they  see  in  it?  Why  is  it  so  superlatively 
pleasant  to  their  eyes?  Good  design  is  al- 
ways practical  design.  And  what  they  see 
in  a  good  type  design  is,  partly,  its  excel- 
lent practical  fitness  to  perform  its  work. 
It  has  a  "heft"  and  balance  in  all  of  its 
parts  just  right  for  its  size,  as  any  good 
tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do 
exactly  the  work  that  the  chair  has  to  do, 
neither  clumsy  and  thick,  nor  "skinny" 
and  weak,  no  waste  of  material  and  no 

(I'lic  point  leaded) 


List  of  Charaeters  in  Two-Letter  Font 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&i5:CE 

abcdefghijklmnopqrstuvwxyzaeoefiflffffiffl  1234567890  $£,.:;-"?  !-|— 

*ti:ii§[]%  y8V4%y2%%% 

abcdefghijklmnopqrstuvwxyzaeoefiflffffiffl  1234567890  $£,.:;-"?!-| — . 

*  tt11§  []  %  '/a  '/4  %  Vz  Vg  3/4  % 

Alternative  Characters,  az-ailahU-  as  an  extra 

AJQ&agt      AJQ&agt 


.()@m 
()@lb 


Matrix  Information  :  8A502.  Lower  case  alphabet,  126  points.  Figures, 
channel  magazine.  Code  word,  ZICYE. 


,  comma,  period  and  thin  space,  .0311.  Runs  in  90 


370  b 


/:  / 


-■  t/ 


L  I  IV  O  T  Y  l>  I']     E  X  C  E  I.  S  I  <>  It     H  I  T  II     M  E  M  PHIS     »  <>  E  » 

10  Point 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF 
ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type? 
What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good 
design  is  always  practical  design.  And  what  they  see  in  a  good  type  design  is, 
partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good 
chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly  the  work 
that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no 
waste  of  material  and  no  lack  of  strength.  And,  beyond  that,  the  chair  may 
have  been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and 
curves  and  proportions:  it  may  be,  actually,  a  work  of  art.  The  same  thing 
holds  for  shapes  of  letters.  And  your  chair,  or  your  letter  (if  a  true  artist  made 
it)  will  have,  besides  its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in, 
or  stamped  on  paper  and  read.  That  explains,  in  a  way,  why  the  experts  rave 
over  the  fine  shapes  of  letters;  but  it  fails  to  explain  wherein  the  shapes  are 

(two  pniiil  Iciiled) 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF 
ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type? 
What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good 
design  is  always  practical  design.  And  w^hat  they  see  in  a  good  type  design  is. 
partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good 
chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly  the  work 
that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no 
waste  of  material  and  no  lack  of  strength.  And,  beyond  that,  the  chair  may 
have  been  made  by  a  man  w^ho  worked  out  in  it  his  sense  of  fine  shapes  and 
curves  and  proportions:  it  may  be,  actually,  a  work  of  art.  The  same  thing 
holds  for  shapes  of  letters.  And  your  chair,  or  your  letter  (if  a  true  artist  made 
it)  w^ill  have,  besides  its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in, 
or  stamped  on  paper  and  read.  That  explains,  in  a  way,  why  the  experts  rave 
over  the  fine  shapes  of  letters;  but  it  fails  to  explain  wherein  the  shapes  are 

(f.vu  t'"inl  leaded) 
List  lit  Chill  iirlfis  in    I  Zfii'Letlir  Font 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 

abcdefghijklmnopqrstuvwxyzaeoefiflft'ffiffl  1234567890$£,. :;-"?!-'— 

( )@m=^=tr,§[]'/;  Vs ¥4 %  1/2 % ^/4 % 

abcdefghijklmnopqrstuvwxyzaeoefiflffffiffl  1234567890$£,.:;-"?! . .  . 

(Worn  *  t*ii§[]  %  Vb  1/4  %  1/2  5/8  %  % 

Altcrnaii'if  Characters,  available  as  an  extra 

AJQ&agt     AJQ&agt 

Maliix  hifoiiiuifioii  1(IA4<i''  I.Mwer  c-.isi'  .ilpli.ilict.  M.i  pi.iiit^.  I-'imircs.  .()(.V2;  coniin.i.  pi-rioil  ;iii(l  Iliiii  sp^Kc.  DMi,.  Hiiii'i  in  90 
.llaniiel  in:.M:i/inc.  Cocle  w..rcl.  ZICCU. 


10 


371 


13 


LINOTYPE    EXCELSIOR    WITH    MEMPHIS    BOLD 


13  Point 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TE 
OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant 
to  their  eyes?  Good  design  is  always  practical  design.  And  what  they 
see  in  a  good  type  design  is,  partly,  its  excellent  practical  fitness  to  per- 
form its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for 
its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made 
nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do, 
neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of  material 
and  no  lack  of  strength.  And,  beyond  that,  the  chair  may  have  been 
made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and  curves 
and  proportions:  it  may  be,  actually,  a  work  of  art.  The  same  thing 

(two  point  leaded) 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TE 
OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant 
to  their  eyes?  Good  design  is  always  practical  design.  And  what  they 
see  in  a  good  type  design  is,  partly,  its  excellent  practical  fitness  to  per- 
form its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for 
its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made 
nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do, 
neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of  material 
and  no  lack  of  strength.  And,  beyond  that,  the  chair  may  have  been 
made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and  curves 
and  proportions:  it  may  be,  actually,  a  work  of  art.  The  same  thing 

(two  point  leaded) 
lAst  of  Characters  iti  Two-Letter  Font 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&iECE 

abcdefghijklmnopqrstuvwxyzaecefiflffflfiffl  1234567890  $£,.:;-"?!-|— 

.  .  .()@Ib*t±tf§[]%  V8l/4%l/2%%% 

abcdefghijklmnopqrstuvwxyzaeoefiflffffiffl  1234567890  $£,.:;-"?!-! — 

.  .  .  ()@ft*t*^§[]%  1/81/43/81/25/83/47/8 

Alternative  Characters ,  a^uiilahle  as  an  extra 

AJQ&agt     AJQ&aqt 

Matrix  Information :  12A488.  Lower  case  alphabet,  158  points.  Figures,  .083;  comma,  period  and  thin  space.  .0415.  Runs  in  90 
channel  magazine.  Code  word,  ZIHMO. 


372 


LINOTYPE    EXCELSIOR    WITH    MEiyiPIIIS    ISOLD 

14  Point 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  I 
TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE- 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  es- 
thetic design?  Why  do  the  pace-makers  in  the  art  of  printing  rave 
over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  design  is  always  prac- 
tical design.  And  what  they  see  in  a  good  type  design  is,  partly,  its 
excellent  practical  fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool 
has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right 
size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy 
and  thick,  nor  "skinny"  and  weak,  no  waste  of  material  and  no 

(luu:  point  leaded) 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  I 
TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE- 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  es- 
thetic design?  Why  do  the  pace-makers  in  the  art  of  printing  rave 
over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  design  is  always  prac- 
tical design.  And  what  they  see  in  a  good  type  design  is,  partly,  its 
excellent  practical  fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool 
has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right 
size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy 
and  thick,  nor  "skinny"  and  weak,  no  waste  of  material  and  no 

(two  point  leaded) 
List  ill  Characters  in  Two. Letter  Font 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&^OE 

abcdefghijklmnopqrstuvwxyza?oefiMffiffl  1234567890  $£,.:;-" 

?!-|—  .  .  .  ()ra)!h*t$1]§[]%  V8l/4%l/2%y4% 

abcdefghijklmnopqrstuvwxyzaeoefiflffffiffl  1234567890  $£..:;-" 

?! .  .  .  ()@lb*t$11§[]%  1/81/43/81/25/83/47/8 

AlternatiTc  Chin  arte  is.  availabic  as  an  extra 

AJQ&agt    AJQ&agt 

Matrix  hifonnatioft :  MA-'"^--  Lower  lase  rtlpli.ilirt .  171  i».iiiils.  i-iKuiCN.  M')h^;  ctMiima.  pi-ri-nl  and  Ihiii  sp.ite.  ,0484  Runs  iti  90 
rhatineJ  niaKa/iiie.  Tiifie  wnd.  /IHOK. 


14 


372  a 


Hig 


COLUMBIA  BOOKS  1893-1933 


Higby,  Chester  Penn.  The  Religious  Policy  of 
the  Bavarian  Government  during  the  Napo- 
leonic Period.  1919.  Pp.  346.  8vo.  HEPL,  196. 
$4.00,  paper.  $5.00,  cloth. 

Contents:  1.  Introduction;  Part  I — Bavaria  in  1799: 
2.  Political  and  Social  Conditions;  3.  The  Position  of 
Catholics,  Protestants  and  Jews;  4.  The  Bavarian  Cler- 
gy; 5.  The  Relation  of  State  and  Church:  6.  The  Relig- 
ious Life  of  the  Common  People.  Part  II— The  Relig- 
ious Policy  of  the  Bavarian  Government  during  the 
Napoleonic  Period  and  Its  Immediate  Effects:  7.  The 
New  Government  and  Its  First  Measures;  8.  The  Toler- 
ation Policy  of  the  Bavarian  Government;  9.  Confisca- 
tion of  Church  Property;  10.  The  Intervention  of  the 
Government  in  Purely  Spiritual  Matters;  11.  Interven- 
tion of  the  Government  in  Matters  Partly  Religious  and 
Partly  Secular  in  Character;  12.  Intervention  of  the 
Government  in  Purely  Secular  Matters.  Part  III — The 
Permanent  Effects  of  the  Religious  Policy  Followed  by 
the  Bavarian  Government  during  the  Napoleonic  Peri- 
od; 13.  Religious  Toleration  in  Bavaria  after  1815:  14. 
The  Concordat  of  1817;  15.  The  Relations  of  Church  and 
State  after  1815;  16.  Conclusions. 

Higginson,  James  Jackson.  Spenser's  Shep- 
herd's Calender  in  Relation  to  Contempo- 
rary Affairs.  1912.  Pp.  xiii  +  364.  8vo.  ECL. 
$2.50. 

Contents:  1.  The  Political  and  Ecclesiastical  Satire  of 
the  Shepherd's  Calender:  2.  The  Biographical  Relations 
of  the  Shepherd's  Calender:  Appendix:  Mr.  Greenlaw's 
Theory:  Index. 

Hill,  David  Jayne.  World  Organization  as  Af- 
fected by  the  Nature  of  the  Modern  State. 
1911  (2nd  ed.,  1917).  Pp.  ix  +  214.  8vo.  JSC. 

Contents:  1.  The  State  as  an  Embodiment  of  the  Law; 
2.  The  State  as  a  Juristic  Person;  3.  The  State  as  a  Pro- 
moter of  General  Welfare:  4.  The  State  as  a  Member  of 
a  Society;  5.  The  State  as  a  Subject  of  Positive  Law; 
6.  The  State  as  a  Mediator  of  Guarantees;  7.  The  State 
as  an  Armed  Power:  8.  The  State  as  a  Justiciable  Per- 
son; Index. 

Hill,  Robert  Tudor.  The  Public  Domain  and 
Democracy;  a  study  of  Social,  Economic  and 
Political  Problems  in  the  United  States  in 
Relation  to  Western  Development.  1910.  Pp. 
253.  Bvo.  HEPL,  100.  $3.00,  paper. 

Contents:  1.  The  Westward  Movement;  2.  Public 
Land  Policies  and  the  Public  Domain;  3.  Western  Op- 
timism; 4.  Democracy  and  Equality  in  the  West;  5.  De- 
mocracy in  Western  Political  Life;  6  Democracy  and 
Individualism;  7.  Individualism  and  the  Public  Do- 
main: 8.  Individualism  and  the  Public  Domain  (cont.)  ; 
9.  A  Social  Democracy — Survey  and  Conclusions;  Bib- 
liography; Index. 


Hills,  John  W(aller).  British  Government  Fi- 
nance. By  the  Rt.  Hon.  John  W.  Hills  and 
E.  A.  Fellowes.  2nd  ed.,  rev.,  enl.,  1932.  Pp. 
218.  8  vo.  English  and  European  agent:  Philip 
Allan,  London.  $2.75. 

To  make  clear  the  intricacies  of  the  British  financial 
system  and  to  explain  its  machinery  is  the  business  of 
this  book.  It  is  designed  to  show  the  working  of  the 
system,  and  incidentally,  it  is  hoped,  to  prove  that 
much  which  looks  irrational  is  nothing  but  the  work- 
ing out  of  accepted  principles.  The  book  was  origin- 
ally written  in  1925  by  Major  Hills,  who  was  financial 
Secretary  to  the  British  Treasury  during  Mr,  Baldwin's 
first  administration.  To  bring  out  this  revised  edition, 


the  author  secured  the  cooperation  of  Mr,  E.  A.  Fel- 
lowes, a  Clerk  to  the  House  of  Commons,  As  it  now 
stands,  the  book  is  the  only  comprehensive,  authentic, 
and  readable  account  of  the  subject  available  in  the 
United  States. 

Contents:  Part  I — Revenue  &  Administration:  1.  In- 
troduction; 2.  The  Executive;  3.  The  House  of  Com- 
mons; 4.  Collection  of  Revenue:  5,  The  Consolidated 
Fund;  6.  The  Paymaster-General;  7.  Audit  and  Bal- 
ance; 8.  Public  Economy.  Part  II — Currency:  9.  Great 
Britain's  Currency  System.  Part  III — Debt:  10.  National 
Debt  in  General;  11.  The  National  Debt:  12,  Floating 
Debt;  13.  Assets,  Conversion  and  Sinking  Funds.  Ap- 
pendices: 1.  Finance  Bills;  2.  Example  of  an  Appropri- 
ation Account,  Index. 

Hillebrand,  William  Francis.  Our  Analytical 
Chemistry  and  Its  Future.  1917.  Pp.  36.  8vo. 
CFC.  $0.50,  paper. 

Hinkhouse,  Fred  Junkin.  The  Preliminaries  of 
the  American  Revolution  as  Seen  in  the 
English  Press,  1763-1775,  1926,  Pp,  216.  8vo. 
HEPL,  276.  $3.50. 

This  is  a  study  of  English  public  opinion  on  the  great 
issues  in  the  controversy  between  Great  Britain  and 
the  American  colonies  that  resulted  in  the  American 
Revolution.  It  is  concerned  not  with  what  politicians 
said  but  with  what  the  average  well-informed  English- 
man knew  and  thought  about  such  events  as  the  Stamp 
Act,  the  Townshend  Acts,  the  Boston  Tea  Party  and 
the  punishment  of  Boston,  The  author  has  made  a  care- 
ful study  of  contemporary  English  newspapers,  and 
magazines,  and  has  succeeded  in  throwing  new  light 
on  many  of  the  happenings  of  the  critical  period  from 
1763  to  1775, 

Contents:  1.  The  Newspapers:  2.  Before  the  Stamp 
Act;  3.  The  Stamp  Act;  4.  Constitutionality  of  Taxa- 
tion: 5.  Colonial  and  Imperial  Thinking:  6.  Bishops; 
7.  The  Townshend  Acts:  8.  Tea,  and  the  Punishment  of 
Boston;  9,  Concord.  Lexington  and  Bunker  Hill;  10, 
Conclusion;  Appendix:  Index. 

Hinrichs,  A(lbert)  F{ord).  The  United  Mine 
Workers  of  America  and  the  Non-Union 
Coal  Fields,  1923.  Pp.  196.  Diagrs.  8vo. 
HEPL.  246.  $3.00,  paper. 

Contejits:  Introduction;  1.  Do  the  Men  Want  the 
Union?;  2.  Wages:  3.  The  Checkweighman;  4.  The  Com- 
pany Store;  5.  The  Company  and  Private  Life:  6.  Im- 
provement in  Miners'  Conditions:  7.  The  Development 
of  the  Coal  Industry  and  the  Miner;  8.  Earl,v  History  of 
Unions  of  Coal  Miners:  9.  Conspiracy;  10,  The  Closed 
Shop  in  the  Coal  Industry;  11.  The  Case  of  Manage- 
ment against  the  Union:  12.  Public  Interest  in  Coal:  13, 
Conclusion:  Bibliography;  Index, 

Hirlh,  Friedrich.  The  Ancient  History  of  China 
to  the  End  of  the  Chou  Dynasty,  1908  (3rd 
printing,  1923).  Pp.  xx  +  383.  Map  (fold.). 
8vo.  O.p. 

The  ancient  history  of  China  holds  a  position  in  the 
Far  East  similar  to  that  of  Greece  and  Rome  in  the 
West, 

Contents:  Preface;  Instructions  for  Reading  Chinese 
Words;  1,  Mythological  and  Legendary;  2.  The  Confu- 
cian Legends:  3.  The  Shang,  or  Yin  Dvnasty  11766-1122 
B.C.I  ;  4.-8.  The  Chou  Dynasty  (1122-249  B,C,)  ;  Appen- 
dix (Chronological  Tables);  Index;  Sketch  Map  of 
China  during  the  Chou  Dynasty. 

Hishida,  Seiji  G(eorge).  The  International  Po- 
sition of  Japan  as  a  Great  Power.  1905.  Pp. 
289.  8vo.  HEPL,  64.  $3.00,  paper. 

Contents:  1.  Introduction:  2.  International  Society  of 
Ancient  Asia;  3.  Dreams  of  Universal  Empire:  4.  The 
First  Intercourse  of  Japan  with  the  European  Nations; 
5.  Reopening  of  the  Sealed  Japan:  6.  Japan's  Entry  into 
the  Comity  of  Nations;  7.  Modern  International  Rela- 
tions of  Japan  with  Asiatic  Nations;  8.  The  Far  Eastern 
Question:  9.  The  Far  Eastern  Question  (cont.)  ;  10.  Con- 
clusion; Appendix:  Bibliography. 

Historians  of  Anglo-American  Law:  Holds- 
worth. 

Historic  Origin  and  Social  Development  of 
Family  Life  in  Russia:  Elnett. 


This  page  is  an  adaptation  from  the  original  in  Columbia  Books  1803- 
19S3.  a  dictionary  catalog  of  Columbia  University  Press  publications. 
The  text  is  reset  in  8  point  No.  1  Excelsior  with  Italic  and  Small  Caps, 
and  ,8  point  Excelsior  with  Memrihis  Bold,  The  smaller  type  is  5'/  point 
Excelsior  with  Italic  and  Small  Caps,  cast  on  6  point  body.  Running 
head  is  10  point  Excelsior  with  I>leniphis  Bold, 


LINOTYPE 

Garamond  No.  3 

Family 


^^  1^'^A.  l^^^A.  ^^  ^"^^  ^'^G^  ;^ck;  xQcjr  xqck;  xoox  xocw  ;^c^ 

6®  <itt«b  (Ottflb  cOaitb  dwflb  (iWflb  <mSh  aMSlb  <J«flb  (ittfib  dWflb  (Jfliflb  ^^^ 


Linotype  Garamond  No.  3  and  its  heavier  counterpart,  Gara- 


^  mond  Bold  No.  3,  were  produced  primarily  for  advertising  JSb 

typographers,  to  meet  the  conception  of  Garamond  which  has  ^ 

become  established  in  their  field.  In  both  light  and  bold  weights 
the  fine  typographic  equipment  oi  one-letter  italics,  two-letter 


&, 

true-cut  small  capitals  in  roman  and  italic,  and  many  logo-  q^ 

^  type  combinations  have  been  made  available  in  each  point  size.  (^ 

Following  pages  show  these  sizes  as  well  as  the  typographic  & 
niceties  available  to  meet  the  exacting  requirements  of  distin- 
-rt           guished  advertising  composition  and  commercial  printing. 

Mergeuthaler  Linotype  Company,  Brooklyn,  N.  Y.  ^ 

NEW  YORK  CITY,  CHICAGO,  SAN    FRANCISCO,  NEW  ORLEANS.   CANADIAN  G/ 


LINOTYPE,  LIMITED,  TORONTO.  Representatives  in  principal  cities  oj the  world  q^ 


fHLM»ii4^^:a»j) 


GARAMOND  No.  3 


LIST   OF    CHARACTERS   AVAILABLE    IN    TWO-LETTER    FONTS 
WITH    ITALIC   AND    SMALL  CAPS 

ABCDEFGHIJKLMNOPQRSTUVWXYZ 
ABCDEFGHIJKLMNOPQRSTUVWXYZ 

ABCDEFGHIJKLMNOPQRSTUVWXYZ 

12345        abcdefghijklmnopqrstuvwxyz        67890 
VBCDE        abcdefghijklmnopqrstuvwxyz       fgrtj 

,.:;?!(!)*"-  —  ^CElb  &£$...  fiflffffiffl 

,  .S  ;  ?  I  A\  QO'  ' Al  CE  ft?  N  £  P  L  .    ../JY#WM 

12345        Z&:()flffiffl$£eoe       67890     ;: 
12343        u&  :  (  )  fl  ffifflj  ^ce        67890      ',  I 

Vs  VAy^ViVsyAVs     h  k  x  z  &  ^  ce     @      %    t  J  §  5  -  [  ] 
Vs  lAysVzysVAya  (s%ft§5-{} 

LONG    DESCENDERS 

g  j  p  q  y 

These  characters  may  be  substituted  lor  those  regularly  furnished 
with  a   font,   if  so  ordered,   or  they   may  be  added   as   an   extra. 


ONE-LETTER    ROMAN    LOGOTYPES 
SPECIAL    NO.    5 

fa  fe  fo  fr  fs  ft  fu  fy  ffa  ffe  ffo  ff r  ffs  ff u   ffy   f,   f  f-  ff,   ff   ff-   f  ff 

ONE-LETTER    ITALIC    LOGOTYPES 

FA  PA  TA  VA  WA  YA  Th  Wh 

ffiflaf  4  ef  eff  hf  if  iff  kf  If  mf  nfof  Iff  pf  rf  sf  tf  uf  uff  yf  If  Of  Off 

ONE-LETTER     ITALIC  ■  S  PEC  I  AL  TWO  -  LETTE  R    SMALL    CAPS 

SPECIAL  NO.  5  ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

akdefghl^klmmpqrsumvxyz  ABCDEFGHIJKLMNOPQRSTUVWXYZ^ 

TWO-LETTER    LOGOTYPES 

Ta  Te  To  Tr  Tu  Tw  Ty  Va  Ve  Vo  Wa  We  Wi  Wo  Wr  Ya  Ye  Yo 

Ta  Te  To  Tr  Tu  Tw  Ty  Va  Ve  Vo  Wa  We  Wi  Wo  Wr  Ya  Ye  Yo 


And  on  the  All-Purpose  Linotype,  there  are  fire  iLsefid  sizes,  18  to  42  point: 

How  One  Assess  Evaluate  Design 

18  24  30  36  42  {^ 

The  48,  60  and  72  point  sizes  of  Garaniond  No.  3  are  scheduled  for  manufacture 


("°  LINaTYPE"'"0  ^^ 


374 


^  GARAMOND  No.  3  ^ 


Comparison  of  Sizes 

r,  I'uiut   (6A-<'J8)  l..>vvi-r  i-.isr  :cl|iliahft .  X7  iv.iiits.    1-iKlirc-s.  .OS".'! 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  T1;RMS  OE  EPS  ESTHETIC;  DESIGN?  WHY  DO  T 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design.'  Why  do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  desi  1  2  s4 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN >  WHY  DO  T 
How  /f  one  to  tiisesi  and  ctahiaie  a  lype  face  in  lernn  of  its  eithetic  tlcsiRn?  Why  Jo  ihe  pace-riiakt/n  in  the  an  oj  j>ri  VIK.D 

7  Point   (7A172)  l.iuMT  i.'isc  .-ilpli.-ili.-l .  ■i-.  ,„,int-.,    I- JMurt";.  M''t 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OE  ITS  ESTHETIC  DESIGN:^  W 

How  is  one  to  assess  and  evaluate  a  type  fate  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  art 
of  printing  rave  over  a  spetihc  face  of  type?  What  do  they  see  in  it.'  Why  is  it  so  superlatively  pleasant  to  t  1  2  i  i 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN.^  WH 
How  is  one  lo  assess  ami  cral/iatc  a  type  face  in  terms  oj  its  esthetic  desif.ii:  Why  Jo  the  pace  makers  in  the  VbCD 

K  Pdint  (SA-1781  Lower  case  .-ilplialift.  10.1  points.  FiHures.  .OCiiJ 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIG 
How  is  one  to  assess  and  evaluate  a  type  fate  in  terms  of  its  esthetic  design?  Why  do  the  pate-makers  in 
the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlative  1 2  34 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TER/MS  OF  ITS  ESTHETIC  DESIG 

Hnw  is  one  to  assess  and  evaluate  a  type  face  tit  teriu\  oj  its  esthetic  design?  \\"by  do  the  pace- maker  VBCD 

')  I'oint   (''AlJ-'i  Lower  case  alphaliet.  Ill    points.   Lic-iirev,  m.'iz 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-mak- 
ers in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  s  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC 
Hou>  is  one  to  assess  and  evaluate  a  type  fctce  in  terms  of  its  esthetic  design?  Why  do  the  pac  VBCD 

111  Point   ll()A-4-|i)l  Lower  la-f  alpiiabet.   I  1  s  i),,nit-..    l-imires.  .nr,02 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHE 
Hc:)w  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  1 234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHE 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  desii^n?  W^hy  do  the  VBCD 

11  Point    IIIAI-''.)  l,oivei   lave  ali.li.il.et .   l.'-"  point-.   I'lmire-.    Ii;i,l 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  E 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  12.34 
HO]VIS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  E 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  estl.ietic  design?  W^hy  d  VBCD 

12  I'oitil    llJA-1?-)!  Lower  case  aliihahet.  1  vijioints.    l-imires.  .nx', 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  W  1234 
HOWnS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF 

Half  is  one  to  assess  and  evaluate  a  type  face  in  terins  of  its  esthetic  design?  N'BCD 

14   Point    IHA-J.V'l  Lower  .ase  alpll.iliel.    1=11  point,     Ii:;ur.v,     ll'/o:- 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TER 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  fa  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TER 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  d  VBCD 


^  C>    LINOTYPE-^ 


375 


GARAMOND  No.  3 


Six  Point 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  T 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAK 


How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of 
its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of 
printing  rave  over  a  specific  face  of  type?  What  do  they  see 
in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes? 
Good  design  is  always  practical  design.  And  what  they  see 
in  a  good  type  design  is,  partly,  its  excellent  practical  fit- 
ness to  perform  its  work.  It  has  a  "heft"  and  balance  in  all 
of  its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your 
good  chair  has  all  of  its  parts  made  nicely  to  the  right  size 
to  do  exactly  the  work  that  the  chair  has  to  do,  neither 
clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of  ma- 
terial and  no  lack  of  strength.  And,  beyond  that,  the  chair 
may  have  been  made  by  a  man  who  worked  out  in  it  his 
sense  of  fine  shapes  and  curves  and  proportions:  it  may  be, 
actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of 
letters.  And  your  chair,  or  your  letter  ( if  a  true  artist  made 
it)  will  have,  besides  its  good  looks,  a  suitability  to  the  Hth 
degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That  ex- 
plains, in  a  way,  why  the  experts  rave  over  the  fine  shapes 
of  letters;  but  it  fails  to  explain  wherein  the  shapes  are  fine. 

(  solid) 
The  same  thing  holds  jor  shapes  of  letters.  And  your  chair, 
or  your  letter  {if  a  true  artist  made  it)  will  have,  besides  its  good 
looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped  on 
paper  and  read.  That  explains,  in  a  way,  why  the  experts  rare 
(One-Letter  Italic) 


How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of 
its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of 
printing  rave  over  a  specific  face  of  type?  What  do  they  see 
in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes? 
Good  design  is  always  practical  design.  And  what  they  see 
in  a  good  type  design  is,  partly,  its  excellent  practical  fit- 
ness to  perform  its  work.  It  has  a  "heft"  and  balance  in  all 
of  its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your 
good  chair  has  all  of  its  parts  made  nicely  to  the  right  size 
to  do  exactly  the  work  that  the  chair  has  to  do,  neither 
clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of  ma- 
terial and  no  lack  of  strength.  And,  beyond  that,  the  chair 
may  have  been  made  by  a  man  who  worked  out  in  it  his 
sense  of  fine  shapes  and  curves  and  proportions:  it  may  be, 
actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of 
letters.  And  your  chair,  or  your  letter  ( if  a  true  artist  made 
it)  will  have,  besides  its  good  looks,  a  suitability  to  the  nih 
degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That  ex- 
plains, in  a  way,  why  the  experts  rave  over  the  fine  shapes 

f  ouc  point  leaded) 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of 

its  esthetic  design?  Why  do  the  pace-makers  in      g  j  p  q  y 

(."^et  zvith  long  deseenders.  on  sez'en  point  body) 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHlfKLMNOPQRSTVVWXYZ& 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflflfffiffl  (S£,.:;'-'?! '  tt§S)  1234567890 
ahcdefghiiklmnopeirstutiixyzfiflffffiffl  ( S£. .::'-'?!    ft§V  1234567890 


ONE-LETTER  ITALIC,  SPECIAL  NO.  : 

abcdefghijklmnopqrstufwxyz 


SPECIAL  TWO-LETTER  SMALL  CAPS 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

Matrix  Injormatioyi :  6A398.  !-ower  case  alpliat)et,  ^7  points.  Figures,  .0553;  coinnia,  perind  aiui  thin  space.  .0277.  Runs  in  90 
cliannel  magazine.  Code  word,  ZESFO. 


Seven  Point 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  W 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE 


How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to 
their  eyes?  Good  design  is  always  practical  design.  And 
what  they  see  in  a  good  type  design  is,  partly,  its  excel- 
lent practical  fitness  to  perform  its  work.  It  has  a  "heft" 
and  balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its  parts 
made  nicely  to  the  right  size  to  do  exactly  the  work 
that  the  chair  has  to  do,  neither  clumsy  and  thick  nor 
"skinny"  and  weak,  no  waste  of  material  and  no  lack 
of  strength.  And,  beyond  that,  the  chair  may  have  been 
made  by  a  man  who  worked  out  in  it  his  sense  of  fine 
shapes  and  curves  and  proportions:  it  may  be,  actually, 
a  work  of  art.  The  same  thing  holds  for  shapes  of  let- 
ters. And  your  chair,  or  your  letter  ( if  a  true  artist 
(solid) 

The  same  thing  holds  for  shapes  of  letters.  And  your 
chair,  or  your  letter  (if  a  true  artist  made  it '  trill  have,  he- 
sides  its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat 
in,  or  stamped  on  paper  and  read.  That  explains,  in  a  ivay, 
(One-Letter  Italic) 


How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to 
their  eyes?  Good  design  is  always  practical  design.  And 
what  they  see  in  a  good  type  design  is,  partly,  its  excel- 
lent practical  fitness  to  perform  its  work.  It  has  a  "heft" 
and  balance  in  all  of  its  parrs  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its  parts 
made  nicely  to  the  right  size  to  do  exactly  the  work 
that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor 
"skinny"  and  weak,  no  waste  of  material  and  no  lack 
of  strength.  And,  beyond  that,  the  chair  may  have  been 
made  by  a  man  who  worked  out  in  it  his  sense  of  fine 
shapes  and  curves  and  proportions:  it  may  be,  actually, 
a  work  of  art.  The  same  thing  holds  for  shapes  of  let- 
ters. And  your  chair,  or  your  letter   ( if  a  true  artist 

(<>«<■  point  leaded) 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-mak     g  j  p  q  y 

I  set  with  long  descenders,  on  eight  point  body) 


ABCDEFGH I JKLMNOPQRSTUVWX  YZ& 

ABCDEFGHIJKLMNOPQRSTVVWXYZ& 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflflfffiffl  (S,£,.:;'-'?!  *tt:§51)  1234567890 

ahcdefghijklmnopqrstuvwxyzfifllfffiffl  {$£,.:;'-'?!    ft§1)  1234567890 


ONE-LETTER  ITALIC,  SPECIAL  NO.  5 

ahcdefghijklmnopqrstuvwxyz 


SPECIAL  TWO-LETTER  SMALL  CAPS 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

Matrix  Information:  7A172.  Lower  case  alphabet,  95  points.  Figures.  .059;  cnnmia,  period  and  thin  space.  .0277.  Runs  in  90 
channel  magazine.  Code  word.  ZETRE. 


LINDTYPE^) 


376 


^  GARAMOND  No.  3  ^ 


Eight  Point 

how  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  desig 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE 


How  IS  ONE  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace-malc- 
ers  in  the  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it  so  superla- 
tively pleasant  to  their  eyes?  Good  design  is  always 
practical  design.  And  what  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fitness  to 
perform  its  work.  It  has  a  "heft"  and  balance  in  all 
of  its  parts  just  right  for  its  size,  as  any  good  tool 
has.  Your  good  chair  has  all  of  its  parts  made  nicely 
to  the  right  size  to  do  exactly  the  work  that  the 
chair   has   to   do,   neither   clumsy   and   thick,   nor 

{solid  I 

The  same  thing  holds  Jar  shapes  of  letters.  And  your 
chair,  or  your  letter  I  if  a  true  artist  made  it)  will  have, 
besides  its  good  looks,  a  suitability  to  the  nth  degree  to  he 
sal  in.  or  stamped  on  paper  and  read.  That  explains,  in 

\Oni--l.,-llcr  ItiiWi) 


How  IS  ONE  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace-mak- 
ers in  the  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it  so  superla- 
tively pleasant  to  their  eyes?  Good  design  is  always 
practical  design.  And  what  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fitness  to 
perform  its  work.  It  has  a  "heft"  and  balance  in  all 
of  its  parts  just  right  for  its  size,  as  any  good  tool 
has.  Your  good  chair  has  all  of  its  parts  made  nicely 
to  the  right  size  to  do  exactly  the  work  that  the 
chair  has  to  do,  neither  clumsy  and  thick,  nor 
"skinny"  and  weak,  no  waste  of  material  and   no 

{line  pciii!  U-adi-ili 

How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  th     g  j  p  q  y 

I  s,-t  icith  I, nil)  i/c-((-.'iit/ci.(.  mi  nine  f<''itt  hndyl 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUV\\"XYZ& 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfillffffiffl  ($£,.:;'-'?!  *tJ<J5l)  1234567890 
abcdefghiiklmnopc/rstut>w.xyzfiflffffiff{  ($£,.:;'-'?!   ft§^)  1234567890 


ONE-LETTER  ITALIC,  SPECIAL  NO.  5 

ahcdefghijklmnopqrstuvwxyz 

Maliix  Iniiii-muluin  .  .HA47X.   l...«er  ea^e  .•ilph.-cliet .   Ill.i  p. 
iliaiiiK'l  ni,iga/iiie.  (  .«le  vv,,ril.  ZF..SI1A. 


SPECIAL  TWO-LETTER  SMALL  CAPS 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHl]KLMNOPQRSTUV\rXYZ& 


mis,   Fii^ures.  .11622; 


periiifi  and  Ihui  sp; 


Nine  Point 

HOW  IS  ONE  to  assess  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY 


How  IS  ONE  to  assess  and  evaluate  a  type  face 
in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  a 
specific  face  of  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design  is, 
partly,  its  excellent  practical  fitness  to  perform 
its  work.  It  has  a  "heft"  and  balance  in  all  of  its 
pans  just  right  for  its  size,  as  any  good  tool  has. 

,  solid  I 

The  same  thing  holds  for  shapes  of  letters.  And 
your  chair,  or  your  letter  I  if  a  true  artist  made  it  i 
will  have,  besides  its  good  looks,  a  suitability  to  the 
nth  degree  to  be  sat  in, or  stamped  on  paper  and  read . 

iDne-LelIrr  Iliili,  I 


How  IS  ONE  to  assess  and  evaluate  a  type  face 
in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  a 
specific  face  of  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design  is. 
partly,  its  excellent  practical  fitness  to  perform 
its  work.  It  has  a  "heft"  and  balance  in  all  of  its 
parts  just  right  for  its  size,  as  any  good  tool  has. 
Your  good  chair  has  all  of  its  parts  made  nicely 

(.'»r  fi'ini  tended  I 

How  is  one  to  assess  and  evaluate  a  type  face 
in  terms  of  its  esthetic  design?  Why      g  j  p  q  y 


el  ■:eitli  I, mil  de 


III  foint  body  I 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ABCDEFGHIJKLMN0PQRSTL1VWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflffffiffl  ($f ,.:;'-'?!  *ti§5[)  1234567890 
ahcdefghijklwnopcjrsturw.xyzfiflffffifjl  i $£,.::'-'?!    ft §5'  1 234567 H90 


ONE-LETTER  ITALIC,  SPECIAL  NO.  5 

abcdefghijklmnopqrstuvwxyz 


SPECIAL  TWO-LETTER  SMALL  CAPS 

ABCDEFGHIJKLMNOPQRSTUVWXYZS: 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 


Milliix  Injiinnatum     'l/M^J.  I...wtT  case  alplialiet.  Ill   pniiits,    FiKUres.  .IMi'lJ  :  i-i.tiiiiia.  pcricd  ami  thill  space. 
clLaniu'l  ni.agaziiie.  Coiie  word.  ZI-.TSI. 


^   (- LINOTYPE -1    % 


2>77 


^GARAMOND  No.  3 


Ten  Point 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHE 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  W 
How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is 
it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  practical  design.  And  what 
they  see  in  a  good  type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its  work.  It 
has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good 
chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has 
to  do,  neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of  material  and  no  lack  of 
strength.  And,  beyond  that,  the  chair  may  have  been  made  by  a  man  who  worked  out  in  it  his 
sense  of  fine  shapes  and  curves  and  proportions:  it  may  be,  actually,  a  work  of  art.  The  same 
thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  letter  (if  a  true  artist  made  it)  will 
have,  besides  its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped  on  paper 
and  read.  That  explains,  in  a  way.  why  the  experts  rave  over  the  fine  shapes  of  letters;  but  it 
fails  to  explain  wherein  the  shapes  are  fine.  If  you  seek  to  go  further  with  the  inquiry,  theo- 
ries will  be  your  only  answer.  Here  is  a  theory  that  the  proponent  thinks  may  have  sense  in  it: 
Fine  type  letters  were,  in  the  first  place,  copies  of  fine  written  letters.  Fine  written  letters  were 
fine  because  they  were  produced  in  the  most  direct  and  simple  way  by  a  tool  in  the  hands  of  a 
person  expert  in  its  use,  by  a  person,  moreover,  who  was  an  artist,  i.e..  a  person  equipped  to 
make  sound  judgments  about  lines,  curves,  proportions,  etc.  The  artist  of  that  moment  when 
printing  was  invented  who  furnished  the  fine  written  patterns  for  type  was  (luckily  for  print- 
ing) working  at  the  top  notch  of  a  fine  tradition  of  calligraphy.  He  was  making  sound  judg- 
ments about  lines  and  curves  and  proportions  of  letters.  He  had  resurrected  an  ancient  dis- 
tinguished style  of  writing  and  had  added  to  it  the  quality  of  his  own  fine  taste.  His  letters 
flowed  from  his  pen  easily  and  simply  without  any  tricks  or  affectations  or  extraneous  embel- 
lishments. He  was  simple  enough  and  artist  enough  to  let  the  implement  itself  (and  his  facile 

(  l-v<i  f'int  leaded} 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in     g  j  p  q  y 

I srt  zvith  long  descenders,  on  11  point  body) 

The  same  thing  holds  for  shapes  of  lettes.  And  your  chair .  or  your  letter  { if  a  true  artist  made  it) 
will  have,  besides  its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped  on  paper  and 
read.  That  explains,  in  a  way.  why  the  experts  rave  over  the  fine  shapes  of  letters:  but  it  fails  to  ex- 
plain ivherein  the  shapes  are  jim.  If  you  seek  to  go  further  with  the  inquiry,  theories  will  be  your  only 

(One-Letter  Italic) 

ABCDEFGHI J  KLMNOPQRSTUVWX  YZ& 

ABCDEFGHifKLMNOPQRSTUVWXYZ& 

ABCDEFGHI  JKLMNOPQRSTUVWXYZ& 
abcdefghijklmnopqrstuvwxyzfiflffffiffl  ($£,.:;'-'?!  *n§5)  1234567890 
abcdefghijklmnopqrstuvwxyzfiflffffiffl  ($£,.:;'-'?!  tni)  1234%7890 

SPECIAL  TWO-LETTER  SMALL  CAPS 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ONE-LETTER   ITALIC,  SPECIAL  NO.  5 

abcdefghijklmnopqrstuvwxyz 

Matrix  Injormation:  inA440.  Lower  case  alphabet,  118  points.  Figures.  .0692;  comma,  period  and  thin  space,  .0277.  Runs  in  90 
channel  magazine.  Code  word.  ZESIC. 


378 


^  GARAMOND  No.  3  ^ 


Eleven  Point 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DE 

How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do 
the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type.''  What  do  they 
see  in  it.-*  Why  is  it  so  superlatively  pleasant  to  their  eyes!-'  Good  design  is  a/ ways  practi- 
cal design.  And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent  practical  fit- 
ness to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size 
to  do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny" 
and  weak,  no  waste  of  material  and  no  lack  of  strength.  And,  beyond  that,  the  chair  may 
have  been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and  curves  and 
proportions:  it  may  be,  actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of  let- 
ters. And  your  chair,  or  your  letter  (if  a  true  artist  made  it)  will  have,  besides  its  good 
looks,  a  suitability  to  the  ;?th  degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That  ex- 
plains, in  a  way,  why  the  experts  rave  over  the  fine  shapes  of  letters;  but  it  fails  to  explain 
wherein  the  shapes  are  fine.  If  you  seek  to  go  further  with  the  inquiry,  theories  will  be 
your  only  answer.  Here  is  a  theory  that  the  proponent  thinks  may  have  sense  in  it:  Fine 
type  letters  were,  in  the  first  place,  copies  of  fine  written  letters.  Fine  written  letters  were 
fine  because  they  were  produced  in  the  most  direct  and  simple  way  by  a  tool  in  the  hands 
of  a  person  expert  in  its  use,  by  a  person,  moreover,  who  was  an  artist,  i.e.,  a  person 
equipped  to  make  sound  judgments  about  lines,  curves,  proportions,  etc.  The  artist  of 
that  moment  when  printing  was  invented  who  furnished  the  fine  written  patterns  for 
type  was  (luckily  for  printing)  working  at  the  top  notch  of  a  fine  tradition  of  calligra- 

(twii  I'innI  Iftidrd  I 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do 
the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What     g  j  p  q  y 

(set  with  long  dcscctult'rs.  on  12  f^innt  body  i 

The  same  thing  holds  j or  shapes  of  letters.  And  your  chair,  or  your  letter  (if  a  true  artist 
made  it)  will  hare,  besides  its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped 
on  paper  and  read.  That  explains,  in  a  way,  tvhy  the  experts  rave  over  the  fine  shapes  of  letters: 
but  it  fails  to  explain  wherein  the  shapes  are  fine.  If  you  seek  to  go  further  with  the  inquiry,  theo- 

(Onc-I.rttrr  Italic) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFCHIJKLMNOPORSTUV\VXYZ& 

ABCDEFGHI  JKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfififfftififi(S£,.:;'-'?!*t+§*^)  1234567890 

ahcdejghijklmnopqrstuvwxyzfflffffiffl  ($£,.: :'-'?!   ft§'i)  1234567890 

SPECIAL  TWO-LETTER  SMALL  CAPS 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEEGHIJKLMNOPQRSrUV\V\YZ& 

ONE-LETTER    ITALIC.  SPECIAL  NO    5 

abcdefghijklntnopqrstuvwxyz 

Matrix  I ntoninitun:  IIAI-''.  I.nwci  i.i-.,-  .ilpli.ii.ft.  IJ?  pciiiit'i.  riKur.-.,  .l)7i,\  :  ...iiiiii.,.  p.-iincl  .iiij  thin  sp.-ue.  .D.ill  Uiiiis  in  <Jll 
.h.innel  in.,K.i/ni<-,  ('...if  u..r<i.  /I-SIJ. 


■2   (""LINOTYPE"")  ^ 


379 


GARAMOND  No.  3 


Twelve  Point 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETI 

How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do 
they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  al- 
ways practical  design.  And  what  they  see  in  a  good  type  design  is,  partly,  its  excel- 
lent practical  fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its 
parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts 
made  nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither 
clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of  material  and  no  lack  of 
strength.  And,  beyond  that,  the  chair  may  have  been  made  by  a  man  who  worked 
out  in  it  his  sense  of  fine  shapes  and  curves  and  proportions:  it  may  be,  actually,  a 
work  of  art.  The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  let- 
ter (if  a  true  artist  made  it)  will  have,  besides  its  goods  looks,  a  suitability  to  the  «th 
degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That  explains,  in  a  way,  why 
the  experts  rave  over  the  fine  shapes  of  letters;  but  it  fails  to  explain  wherein  the 
shapes  are  fine.  If  you  seek  to  go  further  with  the  inquiry,  theories  will  be  your  only 
answer.  Here  is  a  theory  that  the  proponent  thinks  may  have  sense  in  it:  Fine  type 
letters  were,  in  the  first  place,  copies  of  fine  written  letters.  Fine  written  letters 
were  fine  because  they  were  produced  in  the  most  direct  and  simple  way  by  a  tool 

{txvt?  point  leaded) 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type     g  j  p  t]  y 

r.ti-f  u'itli  lonti  descenders,  on  IS  point  body) 

The  same  thing  holds  for  shapes  of  letters.  And  your  chair ,  or  your  letter  (if  a  true  art- 
ist made  it)  will  have,  besides  its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or 
stamped  on  paper  and  read.  That  explains,  in  a  tvay,  tvhy  the  experts  rave  over  the  fine 
shapes  of  letters:  but  it  fails  to  explain  wherein  the  shapes  are  fine.  If  you  seek  to  go  further 

(Onc-Lrtti-r  Italic) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIfKLMNOPQRSTUVWXYZ& 

ABCDFFGHI  JKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflffffiffl  ($£,.:;'-'?! *tt§5)  1234567890 
abcdefghijklmnopqrstuvu'xyzfiflffffiffl  ($£,■: ;'-'Pf   ft §3)  1234367890 

SPECIAL  TWO-LETTER  SMALL  CAPS 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ONE-LETTER   ITALIC,  SPECIAL  NO,  S 

abcdefghijklmnopqrstuvwxyz 

Matrix  Information :  12A454.  Lower  case  alphabet.  133  points.  Figures.  .083:  cfniiiiia.  period  and  thin  space.  .0346.  Runs  in  90 
channel  magazine.  Code  word.  ZESTP. 

^  (""LINOTYPE^    5 


380 


^GARAMOND  No.  3  ^ 


Fourteen  Point 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TER 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS 

How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to 
their  eyes?  Good  design  is  always  practical  design.  And  what  they  see  in  a 
good  type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its 
work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the 
right  size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy 
and  thick,  nor  "skinny"  and  weak,  no  waste  of  material  and  no  lack  of 
strength.  And,  beyond  that,  the  chair  may  have  been  made  by  a  man  who 
worked  out  in  it  his  sense  of  fine  shapes  and  curves  and  proportions:  it  may 
be,  actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of  letters.  And 
your  chair,  or  your  letter  ( if  a  true  artist  made  it )  will  have,  besides  its 
good  looks,  a  suitability  to  the  ;/th  degree  to  be  sat  in,  or  stamped  on  paper 

lf<vo  print  IriiJrcl  I 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a     g  j  p  c[  y 

The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  letter  (if 
a  true  artist  made  it)  will  have,  besides  its  good  looks,  a  suitability  to  the  nth  de- 
gree to  be  sat  in,  or  stamped  on  paper  and  read.  That  explains,  in  a  way,  ivhy  the 
experts  rave  over  the  fine  shapes  of  letters:  but  it  fails  to  explain  wherein  the  shapes 

lOiu-Lftlri   ItalicI 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHlJKLMNOPORSTnVWXYZ& 

ABCDEFGHI  JKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfififfffiffl  ($£,.:;'-'?! *tJ§5)  1234567890 
abcdefghijklmnopqrsturwxyzfiflffffifP  ($£..::'-'?!   ft §5)  1234367890 

SPECIAL  TWO-LETTER  SMALL  CAPS 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHI  JKLMNOPORSTUVWXYZ& 

ONE-LETTER  ITALIC,  SPECIAL  NO,  5 

abcdefghijklmmpqrstuvwxyz 

Matrix  htloriiiitlio)!  HA-.">.  l.cwer  i.ise  ali>lialiet.  ISO  puims.  KiKures.  AMM;  c(>mm.i.  iM-rii>d  anil  thin  space.  .041?.  Runs  in  W) 
ctiaiine]  inaRa/iiie.  Code  word,  ZESJE. 


(■"' LINOTYPE"'^) 


381 


APL  ^  GARAMOND  No.  3  ^  apl 


Eighteen  Point 

(18A1066)  Lower  case  alphabet.  196  points.  Code  word.  ZEYEV 


How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of 
its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of 
printing  rave  over  a  specific  face  of  type?  What  do  they 
see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes? 
Good  design  is  always  practical  design.  And  what  they 


f  t7vo  Point  leaded ) 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxy2fiflffffiffl  ($,:;'-'?!)  1234367 

Twenty-Four  Point 

(24A1066)  Lower  case  alphabet.  254  points.  Code  word.  ZEYFO 

How  is  one  to  assess  and  evaluate  a  type  face 
in  terms  of  its  estlietic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over 
a  specific  face  of  type?  What  do  abcdefghi 
jklmnopqrstuvwxyz  d,:;^-'?!  fiflff  ffiffl)  12345 

(solid) 

Thirty  Point 

(30A1066)  Lower  case  alphabet.  310  points.  Code  word.  ZEYHA 

How  is  one  to  assess  and  evaluate  a 
type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  pace-makers  in  the  art 
of  printing  rave  over  fa  abcdef ghjk 
hiiqrtvwxyz  ($,.:^?!  fiflff  ffiffl)  67890 


(solid) 


A-P-L 


382 


APL^GARAMOND  No.  3 


AMI, 


Thirty-Six  Point 

How  can  one  assess  or  evalu- 
ate a  type  face  in  terms  of  its 
esthetic  desi  abcdefghijklmno 
pqrstuvwxyz  ($,.:;'-'?!  fiflffffiffl) 

(solid  I 

ABCDEFGHIJKLMNOPQ 
RSTUVWXYZ&123456 

Forty-Two  Point 

(42Al»f>fit  Lower  c.i>.e  .ilpli^ili.-t .  A22  points.  Ccide  wonl.  ZKVI.r 

How  is  one  to  evaluate  or 
assess  a  type  face  in  the  ab 
cdefghijklmnopqrstuvwx 

yz  ($,:;^-'?!  fiflfifffiffl)  67890 

ABCDEFGHIJKLMNO 
PQRSTUVWXYZ& 

A-P-L  % 


383 


GARAMOND  BOLD  No.  3 


1ST   OF    CHARACTERS   AVAILABLE    IN    TWO-LETTER    FONTS 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

12345        abcdefghijklmnopqrstuvwxyz        67890 
12345        abcdefghijkhunopqrstuvwxyz        67890 

?!(!)*"-  —  ^CEtb...  fiflffffiffl^oe£$ 

.^!(\)*''.  —  ^CEm  .   ..  fiflffffiffl^oe£$ 

1/8  V4  Vs  1/2  YsYaVs         @         %  1 1:  §  5  -  [  } 
Vs  V4  Vs  V2  Vs  V4  Vs         @         %ft§5-{} 

LONG    DESCENDERS 


g  )  p  q  y 


These  characters  may  be  substituted  for  those  regularly  furnished 
with  a  font,  if  so  ordered,   or  they  may  be  added  as  an  extra. 


ONE-LETTER    ROMAN    LOGOTYPES 

SPECIAL    NO.    5 

fa  fe  fo  fr  fs  ft  fu  fy  ffa  «e  ffo  ffr  ffs  ffu  ffy  f,  f  f-  ff,  ff.  ff-  f  ff 

ONE-LETTER     ITALIC    LOGOTYPES 

FAPATAVAWAYA  Th  Wh 

j  fi  flaj  aji  ej  ef  hj  ij  ij}  kj  ifnT^M  Iff  pf  rf  sf  tj  uj  uff  yj  Ij  Of  Off 

ONE-LETTER    ITALIC 

SPECIAL    NO.    5 

abcdejghijklninopqrstuvwxyz 

SPECIAL  TWO-LETTER    SMALL    CAPS 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHlJKLMNOPQRSrVVWXYZ& 

TWO-LETTER    LOGOTYPES 

Ta  Te  To  Tr  Tu  Tw  Ty  Va  Ve  Vo  Wa  We  Wi  Wo  Wr  Ya  Ye  Yo 
Ta  Te  To  Tr  Tu  Ttv  Ty  Va  Ve  Vo   Wa  We  Wi  Wo  Wr  Ya  Ye  Yo 

And  on  the  A-P-L,  a  complete  range  of  sizes  frotn  18  tol44  point,  inclusive,  in 
Garamond  Bold  No.  5. The  A-P-L  italic  is  available  from  l8to72  point. 


H    H    H 


jb  4,;  AX  bu  /v 

"HHHH 

HHhh 


384 


^GARAMOND   BOLD  No.  3 


Comparison  of  Sizes 

fi  I'dint  (6A3y6)  l..,u,-i  ^,l^,■  .diihaljft.  'M  i)..iiils.  FiKiirc-;.  .055.) 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN.^  WHY 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design.'  Why  do  the  pace-makers  in  the  art  of 
printing  rave  over  a  specific  face  of  type.'  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  I^,^  i 
HOW  IS  ONE  to  aihesi  and  vialiiate  a  type  /rfcp  in  terms  oj  it\  eithelic  design?  Why  do  the  pace-makers  in  th  12)4 

7  r.iiiit   I7A174I  l..iu,T  i.,^,-  .il|,l,.,l„.|.   III4  pMinls.    l-iKini"..   H'V 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design.'  Why  do  the  pace-makers  in 
the  art  of  printing  rave  over  a  specific  face  of  type.'  What  do  they  see  in  it.''  Why  is  it  so  superlative  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  lace  in  terms  of  its  esthetic  design''  Why  do  the  paceitia  12  i4 

S   I'.iiiit    IXA47(,I  l,.i«ci   ...^i-  .ili.liabrt,   I  I  f  p.  mil-,.   lMi!un-s.  .llf.JJ 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific  face  of  type.'  What  do  they  see  in  it.''  Why  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  1234 

'I  i'diiil    l')A154l  l.nuer  case  alphaliet,   l_'ip"i"ts.    Fikuii-s.  .Iii.vj 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  EST 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  desigti.-'  Why  12^4 

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HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do 
the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  1234 
HOU"  /,S"  ONE  to  assess  and  evaluate  a  type  face  in  terms  oj  its  esthetic  design?  1234 

11  pMiut    lHAlilll  I...UI-I    la-,.-  alpllal.i-t.    1  4IJ  p.  mit -,,    KiKlllcs.  .07l',l 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  clesign?  Why 
do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  des  1234 

12  r..iiit   i1:A45JI  l.,.«cr  tast-  alph.ilit-1 .   14,S  p.. nils.    l-iKUrcs.  .IW.! 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  1234 

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HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic 
design?  Why  do  the  pace-makers  in  the  art  of  printing  rave  ov  1 234 
HOW^IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  oj  its  e  1234 

IX   I'l.int   (1SA4I)1I  l..iwfr  case  alphalief.  _'M  p.ants.   FiRiircs.  .11117 

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HOW  IS  one  to  assess  and  evaluate  a  1 12 

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HOW  IS  one  to  assess  and  ev  12 


^   (LINOTYPE     ) 


385 


GARAMOND  BOLD  No.  3 


Six  Point 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY 
DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  OF  TYPE?  WHAT 

How  is  one  to  assess  and  evaluate  a  tjpe  face  in  terras 
of  its  esthetic  design?  Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to 
their  eyes?  Good  design  is  always  practical  design.  And 
what  they  see  in  a  good  type  design  is,  partly,  its  excel- 
lent practical  fitness  to  perform  its  work.  It  has  a  "heft' 
and  balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its  parts 
made  nicely  to  the  right  size  to  do  exactly  the  work 
that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor 
"skinny  and  weak,  no  waste  of  material  and  no  lack 
of  strength.  And,  beyond  that,  the  chair  may  have  been 
made  by  a  man  who  worked  out  in  it  his  sense  of  fine 
shapes  and  curves  and  proportions;  it  may  be,  actually, 
a  work  of  art.  The  same  thing  holds  for  shapes  of  let- 
ters. And  your  chair,  or  your  letter  (if  a  true  artist  made 
it)  will  have,  besides  its  good  looks,  a  suitability  to  the 
Hth  degree  to  be  sat  in,  or  stamped  on  paper  and  read. 
That  explains,  in  a  way,  ^vhy  the  experts  rave  over  the 
fine  shapes  of  letters;  but  it  fails  to  explain  wherein  the 
(solid) 


The  same  thing  holds  jor  shapes  oj  tellers.  And  your 
chair,  or  your  letter  (ij  a  true  artist  made  it)  ivill  httre. 
besides  its  good  looks,  a  suitability  to  the  nth  degree  to  be 
sat  in,  or  stamped  on  paper  and  read.  That  explains,  in  a 

(Onc-Lcttcr  Italic) 


How  is  one  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to 
their  eyes?  Good  design  is  always  practical  design.  And 
what  they  see  in  a  good  type  design  is,  partly,  its  excel- 
lent practical  fitness  to  perform  its  work.  It  has  a  "heft" 
and  balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its  parts 
made  nicely  to  the  right  size  to  do  exactly  the  work 
that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor 
"skinny  and  weak,  no  waste  of  material  and  no  lack 
of  strength.  And.  beyond  that,  the  chair  may  have  been 
made  by  a  man  who  worked  out  in  it  his  sense  of  fine 
shapes  and  curves  and  proportions:  it  may  be,  actually, 
a  work  of  art.  The  same  thing  holds  for  shapes  of  let- 
ters. And  your  chair,  or  your  letter  (if  a  true  artist  made 
it)  will  have,  besides  its  good  looks,  a  suitability  to  the 
«th  degree  to  be  sat  in,  or  stamped  on  paper  and  read. 
That  explains,  in  a  way,  why  the  experts  rave  over  the 

I  one  foint  leaded  I 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms 

of  its  esthetic  design?  Why  do  the  pace-mak      g  j  p  q  y 

{set  zvitlt  long  descenders,  on  sez'cn  point  body) 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflflftiffl  (S£,.:;'-?!*tt§5)  1234567890 
abcdetghijklmnopqrstuitixyzfitlffffiffl  ($£..:;'-'.'.'*f}§S)  1234567890 


ONE-LETTER   ITALIC.  SPECIAL  NO.  5 

ahcdejghijklmnopqrsliivwxyz 

Matrix  Information :  6A396.  Lower  case  alphabet.  94  point? 
channel  magazine.  Code  word,  ZESDI. 


SPECIAL  TWO-LETTER  SMALL  CAPS 
ABCDEFGHIJKLMNOPQRSTUVWXYZA 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

Figures.  .05S3;  coniina.  period  and  thin  space.  .0277.  Runs  in  90 


Seven  Point 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN 
WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  OF 


How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design.-'  Why  do  the  pace-mak- 
ers in  the  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it.''  Why  is  it  so  superla- 
tively pleasant  to  their  eyes?  Good  design  is  always 
practical  design.  And  what  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fitness  to 
perform  its  work.  It  has  a  "heft"  and  balance  in  all 
of  its  parts  just  right  for  its  size,  as  any  good  tool 
has.  Your  good  chair  has  all  of  its  parts  made 
nicely  to  the  right  size  to  do  exactly  the  work  that 
the  chair  has  to  do,  neither  clumsy  and  thicL,  nor 
"skinny"  and  weak,  no  waste  of  material  and  no 
lack  of  strength.  And,  beyond  that,  the  chair  may 
have  been  made  by  a  man  who  worked  out  in  it  his 
sense  of  fine  shapes  and  curves  and  proportions:  it 
may  be,  actually,  a  work  of  art.  The  same  thing 
holds  for  shapes  of  letters.  And  your  chair,  or  your 
(solid) 

The  S.4ME  THING  holds  for  shapes  of  letters.  And  your 
chair,  or  your  letter  {if  a  true  artist  made  it)  iiill  have, 
besides  its  good  looks,  a  suitability  to  the  nth  degree  to 
besat  in,orstamped  on  paper  and  read.That  explains, 

(Onc-Lcttcr  Italic) 


How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design.-'  Why  do  the  pace-mak- 
ers in  the  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it  so  superla- 
tively pleasant  to  their  eyes?  Good  design  is  always 
practical  design.  And  what  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fitness  to 
perform  its  work.  It  has  a  "heft"  and  balance  in  all 
of  its  parts  JList  right  for  its  size,  as  any  good  tool 
has.  Your  good  chair  has  all  of  its  parts  made 
nicely  to  the  right  size  to  do  exactly  the  work  that 
the  chair  has  to  do,  neither  clumsy  and  thick,  nor 
"skinny"  and  weak,  no  waste  of  material  and  no 
lack  of  strength.  And,  beyond  that,  the  chair  may 
have  been  made  by  a  man  who  worked  out  in  it  his 
sense  of  fine  shapes  and  curves  and  proportions:  it 
may  be,  actually,  a  work  of  art.  The  same  thing 
holds  for  shapes  of  letters.  And  your  chair,  or  your 

(one  t^oiiit  leaded ' 

How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design.'  Why  do  the     g  j  p  q  y 

(,((■/  -with  long  dc.u-ender.^.  on  eight  point  body) 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflfTffiffl  (S£,.::'-'.>!*t4:§5)  1234567890 
ahcdefghijklmnopqrstuvwxyzfififfffiffl  ($£.„■:'-' :-'!*ft§5)  1234567890 


ONE-LETTER    ITALIC,  SPECIAL  NO.  5 

abcdefghijklmnopqrstuvwxyz 


SPECIAL  TWO-LETTER  SMALL  CAPS 
ABCDEFGHIJKLMNOPQRSTUVWXYZ* 
ABCDEFGHIJKLMNOPQRSTVVWXYZ& 


Matrix  Injorniation :  7A174.  Lower  case  alphabet,  104  points.  Figures, 
channel  magazine.  Code  wctrd.  ZETTO. 


.059;  comma,  period  and  thin  space,  .0277.   Kuns  in  90 


LINOTYPE" 


386 


GARAMOND  BOLD  No.  3 


Eight  Point 

how  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic 
design?  why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  sp 


How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  spe- 
cific face  of  type?  What  do  they  see  in  it?  Why 
is  it  so  superlatively  pleasant  to  their  eyes? 
Good  clcsigii  is  a/ways  prjcticul  ilcsigii.  And 
what  they  see  in  a  good  type  design  is,  partly, 
its  excellent  practical  fitness  to  perform  its 
work.  It  has  a  "heft"  and  balance  in  all  of  its 
parts  just  right  for  its  size,  as  any  good  tool  has. 
Your  good  chair  has  all  of  its  parts  made  nicely 
to  the  right  size  to  do  exactly  the  work  that  the 
chair  has  to  do,  neither  clumsy  and  thick,  nor 

IS. .lid  I 

The  same  thing  holds  for  sh,ipes  oj  Liters.  And 
your  chiiir,  or  your  Utter  (if  u  true  iirtist  made  it) 
will  hdve,  besides  its  good  looks,  ti  siiituhility  to  the 
nth  degree  to  he  sat  in,  or  stamped  on  paper  and 

lUnc-Lcllcr  I  lulu:  I 


How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  spe- 
cific face  of  type?  What  do  they  see  in  it.'  Why 
is  it  so  superlatively  pleasant  to  their  eyes? 
Good  design  is  always  practical  design.  And 
what  they  see  in  a  good  type  design  is,  partly, 
its  excellent  practical  fitness  to  perform  its 
work.  It  has  a  "heft"  and  balance  in  all  of  its 
parts  just  right  for  its  size,  as  any  good  tool  has. 
Your  good  chair  has  all  of  its  parts  made  nicely 
to  the  right  size  to  do  exactly  the  work  that  the 
chair  has  to  do,  neither  clumsy  and  thick,  nor 

'  .nu-  f,.inl  1,-adfdl 

How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do     g  j  p  q  y 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDErGHlJKLMNOPQRSTVV\X'XyZ& 

abcdefghijklmnopqrstuvwxyzfiflfffiiffl  (S£,.:;'-'?!^:^t1:§S)  12^4567890 
ahcdefghijklmnopqrstiivwxyztiflffffiffl(S£,.:;--\^!*ft§^J)  1234567890 

ONE-LETTER  ITALIC,  SPECIAL  NO,  5  SPECIAL  TWO-LETTER  SMALL  CAPS 

abcdefghijklmnopqrstl/vwxyz  ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ABCDEFGHIJKLMNOPQRSTHVWXYZ& 


Matrix  InUnmatHm     xl\A7G.   L.mcr  t.i'. 
Liiaiiiitl  niana/ine.  I  i.de  wiird.  ZESICIi. 


ill.h.ilKl.   1  M  i>. 


1)277,    Kllnv  in  90 


Nine  Point 
how  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  est 
design?  why  do  the  pace-makers  in  the  art  of  printing  rave  ove 


How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design?  Why  do 
the  pace-makers  in  the  art  of  printing  rave 
over  a  specific  face  of  type?  What  do  they 
see  in  it?  Why  is  it  so  superlatively  pleasant 
to  their  eyes?  Good  design  is  always  practi- 
cal design.  And  what  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fit- 
ness to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good  chair 

•  s,,hdl 

The  same  thing  holds  for  shapes  of  letters. 
And  your  chair,  or  your  letter  (if  a  true  artist 
made  it)  will  have,  besides  its  good  looks,  a 
suitability  to  the  nth  degree  to  he  sat  in.  or 

I  mil-- 1. rtlfi    Italu   I 


How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design?  Why  do 
the  pace-makers  in  the  art  of  printing  rave 
over  a  specific  face  of  type?  What  do  they 
see  in  it?  Why  is  it  so  superlatively  pleasant 
to  their  eyes?  Good  design  is  altvays  practi- 
cal design.  And  what  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fit- 
ness to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good  chair 
has  all  of  its  parts  made  nicely  to  the  right 

'  ,nu-  p.nul   Uadi'd  I 

How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  desig     g  j  p  q  y 

(.(,■/  T,'l(/l  lo,ui  Jrs,-riul,-is.  ,nt    Id  fonil  h,'d y' 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIfKLMNOPQRSTUV}Y^XYZ& 

abcdefghijklmnopqrstuvwxyzfiflfifftiffl  (S£,.:;'-'?! *!+§•!)  1234567890 
ahcdefghijkhnnopqrsti/vwxyzfiftfiff'ifjl  (S£,.:;'-'^!-fW )  1 234^67890 

OtIE-LETTER    ITALIC.  SPECIAL  NO,  5 

ahcdefghijklmtiopcirstuvwxyz 


■,PECIAL  TV.O-LETTEk   SWLL  CAPS 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTVVWXYZ& 


\l,:tnx  hn.ninal 
tii.innel  iii;ma/in( 


'•I  ■  'JAl.M,   l...u>T  >-.-iv, 
Co.le  word,  ZI-nU.M. 


:.ll.li.ili<-l.   lJ,i  ii,,iii 


.0692; 


1(1  tlliii  -pace,  .U.il  I,    l;i 


^€ 


LINOTYPE 


E>% 


387 


GARAMOND  BOLD  No.  3 


Ten  Point 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS 
ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINT 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do 
the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they 
see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  prac- 
tical design.  And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent  practical 
fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for 
its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the 
right  size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick, 
nor  "skinny"  and  weak,  no  waste  of  material  and  no  lack  of  strength.  And,  beyond 
that,  the  chair  may  have  been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine 
shapes  and  curves  and  proportions:  it  may  be,  actually,  a  work  of  art.  The  same  thing 
holds  for  shapes  of  letters.  And  your  chair,  or  your  letter  (if  a  true  artist  made  it)  will 
have,  besides  its  good  looks,  a  suitability  to  the  nth.  degree  to  be  sat  in,  or  stamped  on 
paper  and  read.  That  explains,  in  a  way,  why  the  experts  rave  over  the  fine  shapes  of 
letters;  but  it  fails  to  explain  wherein  the  shapes  are  fine.  If  you  seek  to  go  further 
with  the  inquiry,  theories  will  be  your  only  answer.  Here  is  a  theory  that  the  propo- 
nent thinks  may  have  sense  in  it:  Fine  type  letters  were,  in  the  first  place,  copies  of 
fine  written  letters.  Fine  written  letters  were  fine  because  they  were  produced  in  the 
most  direct  and  simple  way  by  a  tool  in  the  hands  of  a  person  expert  in  its  use,  by  a 
person,  moreover,  who  was  an  artist,  i.e.,  a  person  equipped  to  make  sound  judg- 
ments about  lines,  curves,  proportions,  etc.  The  artist  of  that  moment  when  printing 
was  invented  who  furnished  the  fine  written  patterns  for  type  was  (luckily  for  print- 
ing) working  at  the  top  notch  of  a  fine  tradition  of  calligraphy.  He  was  making 
sound  judgments  about  lines  and  curves  and  proportions  of  letters.  He  had  resur- 
rected an  ancient  distinguished  style  of  writing  and  had  added  to  it  the  quality  of  his 
own  fine  taste.  His  letters  flowed  from  his  pen  easily  and  simply  without  any  tricks  or 
affectations  or  extraneous  embellishments.  He  was  simple  enough  and  artist  enough 
to  let  the  implement  itself  (and  his  facile  hand)  shape  the  product.  The  fine  qualities 
of  this  artist's  letter-forms  were  carried  over  into  the  metal  types  and  sealed  up  there, 

(one  p.ii„t  leaded) 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do 
the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  Wh     g  j  P  q  y 

I  srI  -vith  loiiy    .csceilders.  oit  II  foiiit  body) 

The  same  thing  holds  Jor  shapes  of  letters.  And  your  chair,  or  your  letter  (ija  true  artist 
made  it)  will  have,  besides  its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or 
stamped  on  paper  and  read.  That  explains,  in  a  way,  why  the  experts  rave  over  the  fine 
shapes  oj  letters;  but  it  jails  to  explain  wherein  the  shapes  are  fine.  If  you  seek  to  go  fur - 

I  Oiu--Lctter  Italic  t 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTVVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflffffiffl  ($£,.: ;'-'?!*t$§51)  1234567890 
abcdef  ghijklmnopqrstuvwxyzfiiifjffiffl  ($£,.:  ;'-'.\'Ht§5)  1234367890 

SPECIAL  TWO-LETTER  SMALL  CAPS 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEEGHIJKLMNOPQRSTUVWXYZ& 

ONE-LETTER   ITALIC.  SPECIAL  NO.  5 

abcdefghijklmnopqrstuvwxyz 

Matrix  Information  :  10A436.  Lower  case  alphaljet.  131)  points.  Figures.  .0692;  comma,  period  and  thin  space.  .0346.  Runs  in  90 
channel  magazine.  Code  word.  ZESEII. 


(°  LINOTYPE"") 


388 


yGARAMOND  BOLD  No.  3  f? 


Eleven  Point 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF 
ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design 
is  always  practical  design.  And  what  they  see  in  a  good  type  design  is,  partly,  its 
excellent  practical  fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all 
of  its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of 
its  parts  made  nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has 
to  do,  neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of  material 
and  no  lack  of  strength.  And,  beyond  that,  the  chair  may  have  been  made  by  a 
man  who  worked  out  in  it  his  sense  of  fine  shapes  and  curves  and  proportions: 
it  may  be,  actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of  letters.  And 
your  chair,  or  your  letter  (if  a  true  artist  made  it)  will  have,  besides  its  good 
looks,  a  suitability  to  the  //th  degree  to  be  sat  in,  or  stamped  on  paper  and  read. 
That  explains,  in  a  way,  why  the  experts  rave  over  the  fine  shapes  of  letters;  but 
it  fails  to  explain  wherein  the  shapes  are  fine.  If  you  seek  to  go  further  with  the 
inquiry,  theories  will  be  your  only  answer.  Here  is  a  theory  that  the  proponent 
thinks  may  have  sense  in  it:  Fine  type  letters  were,  in  the  first  place,  copies  of 
fine  written  letters.  Fine  written  letters  were  fine  because  they  were  produced  in 
the  most  direct  and  simple  way  by  a  tool  in  the  hands  of  a  person  expert  in  its 
use,  by  a  person,  moreover,  who  was  an  artist,  i.e.,  a  person  equipped  to  make 
sound  judgments  about  lines,  curves,  proportions,  etc.  The  artist  of  that  mo- 
ment when  printing  was  invented  who  furnished  the  fine  written  patterns  for 
type  was  (luckily  for  printing)  working  at  the  top  notch  of  a  fine  tradition  of 
calligraphy.  He  was  making  sound  judgments  about  lines  and  curves  and  pro- 
portions of  letters.  He  had  resurrected  an  ancient  distinguished  style  of  writing 

lo,,,-  f>'in:  IriulrdI 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  ty     g  j  p  q  V 

ft,-/  7filli  Uniij  J,M,jidfi  s,  on  12  f.'iiit  h,idyi 

The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  letter  (ij  a  true 
artist  made  it)  tiill  have,  besides  its  good  looks,  a  snitahility  to  the  nth  degree  to  he 
sat  in,  or  stamped  on  paper  and  read.  That  explains,  in  a  way,  why  the  experts  rate 
over  the  fi)ie  shapes  oj  letters;  hut  it  fails  to  explain  wherein  the  shapes  are  fine.  If 

llhlr^I.,11,-'    II, ill,  I 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFCjHIJKLMNOPORSTUV}Y^XYZ& 

abcdefghijklmnopqrstuvwxyzfiflffffiffl  ($£,.:;'-'?! *t:t:§*!)  1234567890 
ahcdefghijklmnopqrstuvu'xyzfiflffffifP  ($£,.: ; '- '.^.'*ft§j)  1 234367890 

SPECIAL  TVvO-LETTEP   SMALL  CAPS 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVW^XYZ& 

ONE-LETTER    ITALIC,  SPECIAL  NO,  5 


ahcdefghijklmnopqrstuvwxyz 


Matrix  Iiilormalian  :  1\^1M).  Lower  case  all)li,il)et.    Mil  points,   Fiuuie--.  ,Or(iI  :  icimin.i.  peril).!  ami  Iliiii  sp: 
iliaiinel  magazine.  Code  word.  ZK/rUT. 


.o 


(„.  LINOTYPE   ") 


389 


GARAMOND  BOLD  No.  3 


Twelve  Point 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS 
OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design.  And  what  they  see  in  a  good 
type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its  work.  It 
has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good 
tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to 
do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor 
"skinny"  and  weak,  no  waste  of  material  and  no  lack  of  strength.  And,  be- 
yond that,  the  chair  may  have  been  made  by  a  man  who  worked  out  in  it  his 
sense  of  fine  shapes  and  curves  and  proportions:  it  may  be,  actually,  a  work 
of  art.  The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or  your 
letter  (if  a  true  artist  made  it)  will  have,  besides  its  good  looks,  a  suitability 
to  the  nth  degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That  explains, 
in  a  way,  why  the  experts  rave  over  the  fine  shapes  of  letters;  but  it  fails  to 
explain  wherein  the  shapes  are  fine.  If  you  seek  to  go  further  with  the  in- 
quiry, theories  will  be  your  only  answer.  Here  is  a  theory  that  the  propo- 
nent thinks  may  have  sense  in  it:  Fine  type  letters  were,  in  the  first  place, 
copies  of  fine  written  letters.  Fine  written  letters  were  fine  because  they 
were  produced  in  the  most  direct  and  simple  way  by  a  tool  in  the  hands  of  a 
person  expert  in  its  use,  by  a  person,  moreover,  who  was  an  artist,  i.e.,  a  per- 

'.'(ir  point  leaded) 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific     g  j  p  1  y 

(set  zvitli  long  descenders,  on  13  point  body) 

The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  letter  (if  a 
true  artist  made  it)  will  have,  besides  its  good  looks,  a  suitability  to  the  nth  de- 
gree to  be  sat  in,  or  stamped  on  paper  and  read.  That  explains,  in  a  tvay,  why  the 
experts  rave  over  the  fine  shapes  of  letters;  but  it  fails  to  explain  wherein  the 

(One-Letter  Italic) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflfifffififl  ($£,.: ;'-'?!*n§5)  1234567890 
abcdefghijklmnopqrstuvwxyzfiflffffifft($£,.:;'-\^!*ft§5)  1234367890 

SPECIAL  TWO-LETTER  5MALL  CAPS 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTIJVWXYZ& 

ONE-LETTER   ITALIC,  SPECIAL  NO,  5 

abcdef  ghijklmnopqrstuvwxyz 

Matrix  Injormation:  12A452.  Lower  case  alphabet,  MR  points.  Figures.  .083:  comma,  period  and  thin  space,  .0415.  Runs  in  90 
channel  magazine.  Code  word,  ZESEN. 


('"°  LINOTYPE"") 


390 


GARAMOND  BOLD  No.  3 


Fourteen  Point 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN 
TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MA 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic 
design?  Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a 
specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superla- 
tively pleasant  to  their  eyes?  Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent  prac- 
tical fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of 
its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair 
has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly  the  work 
that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and 
weak,  no  waste  of  material  and  no  lack  of  strength.  And,  beyond 
that,  the  chair  may  have  been  made  by  a  man  who  worked  out  in  it 
his  sense  of  fine  shapes  and  curves  and  proportions:  it  may  be,  actu- 
ally, a  work  of  art.  The  same  thing  holds  for  shapes  of  letters.  And 
your  chair,  or  your  letter  (if  a  true  artist  made  it)  will  have,  besides 
its  good  looks,  a  suitability  to  the  //th  degree  to  be  sat  in,  or  stamped 
on  paper  and  read.  That  explains,  in  a  way,  why  the  experts  rave 

(one  piiini  Inliird) 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic 
design?  Why  do  the  pace-makers  in  the  art  of  printing  ra     g  j  p  c|  y 

isft  7filli  1,'iig  Jf  \,, 11,1,1  s,  .'It   ;i  p.iutl  h.nlyl 

The  same  thing  holds  for  shapes  oj  letters.  And  your  chair,  or  your  let- 
ter (ij  a  true  artist  made  it)  will  have,  besides  its  good  looks,  a  suitability 
to  the  nth  degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That  ex- 
plains, in  a  way,  why  the  experts  rave  over  the  fine  shapes  oj  letters:  but 

(Onc-Lcttcr  Italic) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEYGUl]KLMNOPORSrUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflffffiffl  ($£,.:;'-'?!*t1:§5)  1234567 
ahcdefghijklmnopqrstuvtvxyzpjljjjfiffl  ($£..:;'- 'I'.'HtSD  1234567 

SPECIAL  TWO-LETTER  SMALL  CAPS 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVM^XYZ& 

ONE-LETTER    ITALIC.  SPECIAL  NO    5 

abcdejghijklnmopqrstuvu'xyz 

Miitn.i-  liit„riiiotioi: :  14A32S.  Lower  case  aliibalict.  \(,7  points.  FiKUrcs.  .DOfiS:  conmi.T.  pcriocl  .iiul  thin  ^ii.-uc.  .(MS4.  Km\<  in  '«) 
clianncl  niag.ixine.  Code  word.  ZESEV. 


^  C-LINOTYPE^   ^ 


391 


GARAMOND  BOLD  No.  3 


Eighteen  Point 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  T 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant 
to  their  eyes?  Good  design  is  always  practical  de- 
sign. And  what  they  see  in  a  good  type  design  is, 
partly,  its  excellent  practical  fitness  to  perform  its 
work.  It  has  a  "heft"  and  balance  in  all  o  1234567890 


l/IC-  point  Uuulcdi 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflffffiffl  ($,.:;'-'?!) 

Matrix  hiU'iniatiun :  18A401.  Luwer  case  alphabet.  214  points,  l-'igures,  .1107.  Runs  in  90  channel  inaK.i/ine.  16  point  alignment. 
Code  word,  ZETMO. 

Twenty-Four  Point 

HOW  IS  ONE  TO  ASSESS  AND  EVAL 
How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  so  superlatively 
pleasant  to  their  ey  ($,.:^?!)  1234567890 

(tzvo  point  leaded) 

ABCDEFGHIJKLMNOPQRSTUVW 

abcdefghijklmnopqrstuvwxyz 

Matrix  Injormatioy} :  24A339.  Lower  case  alphabet.  278  points.  Figure  1,  .1 107 ;  2  to  0.  .1S22.  Runs  in  72  channel  magazine;  also 
lower  case,  except  m  and  w,  in  cap  channels  of  90  channel  magazine  with  caps  and  figures  in  34  channel  auxiliary  magazine. 
12  point  alignment.  Code  word,  ZASUT. 

^2  (,..„  LINOTYPE"")   ^^ 


392 


GARAMOND  BOLD  No.  3  ^ 


Thirty  Point 


HOW  IS  ONE  TO  ASSESS  AN 
How  is  one  to  assess  and  evaluate 
a  type  face  in  terms  of  its  esthetic 
design?  Why  do  the  pace-makers 
in  the  art  of  printing  rave  over  a 
specific  type  face?  What  do  they 
see  in  it?  Why  is  it  so  pleasant  to 
their  eyes?  Good  design  is  always 
practical  design.  And  what  they 
see  in  good  type  design  is,  partly, 
its  practical  fitness  to  perform  its 
work.  It  has  a  "heft"  and  b  abcdef 
ghijklmnopqrstuvwxyz  ($,.:;'-'!?) 


(two  putnt  li-aded) 


ABCDEFGHIJKLMNOPQRS 
TUVWXYZ&  1234567890 

Matrix  Injoyniation  :  3(1A-^'I.  l.-'wer  c;isc  alphabet.  M\  points.  Figure  1.  ,l.^.s,^;  J  tn  0.  .\').S7.  Ktins  in  Wirie  7J  cli.innel  niat^a- 
/iiie;  alst)  lower  case  in  cap  channels  nf  7^  channel  nian^i-'iiie  with  caps  ami  tiyures  in  Wide  M  t^hannel  auxiliary  ma^a/ine. 
28  ptiint  alignnient.  Smallest  slug  nn  which  this  lace  will  cast  is  2*)  point,  lode  word.  XAS\'l'. 

^  (      LINOTYPE-^    ^ 


393 


APL  ^GARAMOND  BOLD  No.  3  ^  apl 


Thirty-Six  Point 

(36A1054)  Lnwer  case  alphabet,  403  points.  Code  word.  ZERJI 

How  is  one  to  evaluate  and 
assess  type  faces  in  terms  of 
est  abcdefghijklmnopqrstu 
vwxyz  ($/-?!fiflff  ffiffl)  12  345 

ABCDEFGHIJKLMNOP 
QRSTUVWXYZ& 

Forty-Two  Point 

(42A1054I  Lower  case  alphabet,  465  points.  Code  word.  ZERKO 

How  is  one  to  assess  and 
evaluate  a  type  f ac  abed 
efghijklmnopqrstuvwx 
yz  ($/-'?!fififIffiffl)  67890 

(solid) 

ABCDEGHJKMNPQ 
RSTUVWXYZ& 

W    APT     % 

All-Purpose  Linotype  tnatrices  are  also  available  in  18,24  and  30  point  sizes 

394 


APL  ^GARAMOND  BOLD  No.  3  ^  a  pl 
Forty-Eight  Point 

(•48A1(1^4I   l.Mwcr  i;iM-  :,li.lKil«-t.   '11   points    Coiic  w..r.l.  ZKKI.f 

How  can  one  assess  a 
type  face  In  terms  of 
esthetic  abcdef  ghijkl 
nopqr($;V?!fiffffl)156 

(thifc  puiiil  leaded) 

Sixty  Point 

(60Ain54)  I,n«er  case  alpliabet.  661  points.  Code  word.  ZERMA 

How  is  one  to  as- 
sess and  evaluate 
pqrstu  V  wxy  2 12  0 


(three  point  leaded! 


ABCDEGHJKL 


m  A-p-L  1 


395 


A  PL  %^GARAMOND  BOLD  No.  3  i^  a  pl 


Seventy-Two  Point 

(72A1054)  r.ower  case  alpliahet.  796  points.  Code  word.  ZF.RNE 

The  Easy  Clip 
In  abcdfghjkl 
($,>'?!fiff  ffl)  89 

(three  point  leaded) 

Eighty-Four  Point 

(84A105-4)  Lower  case  alphabet.  lOM  points.  Code  word.  ZEYSO 

Flight  King 
Steps  Night 

qrtwxyz  56 


(solid) 


A-P-L 


396 


API.  ^GARAMOND  BOLD  No.  3  ^   a  pl 
Ninety-Six  Point 

(y6All)=i4l   l,..uer  i^i-e  .ilpli.-ilii-l,  llvl  ij.niils,    C.uk-uiird.  ZASAN 

Grey  Hats 
Bags  abed 
mopqrs  78 

(  on  m  f"iiil  h,'Jvl 

One  Hundred  Twenty  Point 

(12l)AIIi5-4l  l...\ver  case  alplialiet.  14-15  pciiits.  Code  word.  ZKSOD 

Gay  Net 

In  Big  16 


(on   102  pinnt  h,uly  i 


X^ 


^  A-P-L  'i 


397 


APL   %^  GARAMOND  BOLD  No.  3?^   apl 


One  Hundred  Forty-Four  Point 

(144A1054)  Lower  case  alphabet.  1695  points.  Code  word.  ZESUY 


High 

Style  Is 
Buys  15 
In  Step 


(on  126  fuint  bvdy) 


A-P-L 


398 


AP  L  ^GARAMOND  BOLD  No.  3  ITALIC  ^  a  pi. 


m, 

Eighteen  Point 

(IXAI055I   I...W.T  lasr  .ilph.ih.l .   I'M,  i,.,iiitv.  Code  wnr.l.  ZETIA 

HO]V  IS  ONE  TO  ASSESS  AND  EVALUATE  A 

How  is  otie  to  assess  and  evaluate  a  type  j ace  in  terms  of 
its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of 
printing  rave  over  a  specific  face  of  type?  What  do  they 
see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes? 
Good  design  is  always  practical  design.  And  what  they 
see  in  a  good  type  design  is,  partly,  its  excellent  practical 
fitness  to  perform  its  work.  It  has  a  ^'heff  and  balance 
in  all  of  its  parts  just  right  for  its  size,  as  an  1234567890 

ABCDEFGHIJKLMNOPORSTUVWXYZ& 

abcdefghijklmnopqrstavwxyzfiflffffiffl{$,. :;'-'?!) 

Twenty-Four  Point 

(^■»AI"S=;i   i-invci   L.ive  .ilph.ihel.  .MX  p.. ml-.    (  ...le  w.u.i,  /I-  KOC 

HOW  IS  ONE  TO  ASSESS  OR  EVAL- 

How  is  one  to  assess  or  evaluate  a  typeface  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  printing  arts  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is 
it  so  superlatively  pleasant  to  their  eyes?  A 
good  design  is  always  practical  123~I367890 

ABCDEFGHIJKLMNOPQRSTUVW 

ahcdefghijklmnopqrstavwxyz 


&^  A-P-L  % 


399 


A  PL  %^  GARAMOND  BOLD  No.  3  ITALIC  ^  apl 


Thirty  Point 

(J0A105S)  Lower  case  alphabet.  305  points.  Code  word.  ZEROJ 

How  is  one  to  assess  and  evaluate  a 
face  of  type  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the 
art  of  printing  rave  ov  abcdefghijkl 
mnopqrsttwwxyz  {$, . :;  -  '?ffifljfffiffl) 


I  ntu:  f'int  Iriidcd) 


ABCDEFGHIJKLMNOPQRST 

UVJVXYZ&1234567890 

Thirty-Six  Point 

(,36A1055)  Lower  case  alphabet.  363  points.  Code  word.  ZEROP 

How  is  one  to  evaluate  a  type 
face  in  terms  of  its  esthetic  de- 
sign? Why  ahcdefghijklmnop 
qrsttivwxyz  ($, . :; '-  ^?ffiflffffiffl) 


(twn  point  leaded) 


ABCDEFGHIJKLMNOPQ 
RSTUVWXYZ&m45 


A-P-L 


400 


PI.  ^,  GARAMOND  BOLD  No.  3  ITALIC^  a  pl 


Forty-Two  Point 

(4_'AU)S5)   l.i.wer  c.-ise  ;i:iih:il.pt.  412  points.  Cocle  word,  /KKI'I 

Hot^^  is  one  to  evaluate  or 
assess  a  type  face  in  terms 
of  its  esthetic  design?  Why 
do  the  pace  abcdefghijklm 
nopqrstuv{$;  '-?!fiffffl)189 

I  two  point  h-nJcd) 

Forty-Eight  Point 

USAlOsS)  Lower  case  alplialiet.  Mf,  points.  Code  word.  /V.KV.O 

How  can  one  evaluate 
or  assess  a  type  face  in 
terms  of  esthetic  design 

and  why  are  wxyz  343 


(/!(■<>  point  Icuicil 


ABCDEFGHIJKLM 


A-P-L  ^^ 


401 


APL  ^GARAMOND  BOLD  No.  3  ITALIC  ^  a  pl 


Sixty  Point 

(60A105S)  Lower  case  alphabet.  587  points.  Code  word.  ZEYTU 

How  can  one  eval- 
uate a  t  abcdefghj 
kln(t-?.'fiffffi)12 


(solid) 


Seventy-Two  Point 

(72A1055)  Lower  case  alphabet.  711  points.  Code  word.  ZEYUF 


How  can  a  face 


opqrtvwxyz  67 

JL^  M^  (solid)  ^^ 

ABCDEFGM 


A-P-L 


402 


|,^^,Ov/Ov(*^/0\/C*i<OviOi<<C^/«^/Oi/C^i<5^/Ov/0>iOv^>i<0(^^^^i^^iOi^?^iO»^>»^>v/^^^jOk/0»^\^^^vO 


(^ 
a 


Liinotype 

GARAMOND 

ramily 


D 
]) 
D 
]) 

]) 
]) 
]) 
]) 
]) 
]) 
D 
]) 
]) 
]) 
]) 
]) 
]) 
D 
]) 
]) 
]) 
D 


5Garamond  as  redesigned  for  the  Linotype  is  the  result  of  much  study  and  research  in 
Europe  in  which  its  design  was  traced  back  to  the  earhest  known  showing  of  the 
original  Garamond  types.  The  most  complete  and  authoritative  niaterial  was  found 
in  the  collection  of  the  Schriftgiesserei  D.  Stempel  of  Frankfurt-am-Main,  where  in 
Garamond 's  time  his  types  won  such  immediate  esteem  that  they  were  imported  from 
France  and  used  for  German  printing  about  simultaneously  with  their  use  in  France. 
JIndeed,  in  that  city,  held  as  a  treasure  of  the  Stempel  typographic  collection,  is  the 
oldest  known  type-founder's  showing  of  the  original  Garamond  types,  the  most 
authentic  and  technically  reliable  record  that  we  have  of  the  true  face— the  famous 
Egenolff-Berner  specimen  sheet  of  1592.  All  these  resources  have  been  utilized  to  the 
full  in  cutting  the  Linotype  Garamond. 

JA  companion  face,  suited  to  heavier  display,  is  offered  in  Linotype  Garamond  Bold. 
Both  faces  are  available  in  sizes  from  6  to  36  point,  inclusive,  and  are  supplemented 
with  a  varied  assortment  of  related  borders  and  decorative  material. 

MERGENTHALER  LINOTYPE  COMPANY,Brooklyn,N.Y.,  New  York  City,  Chicago,  San  Francisco, 
New  Orleans.  Canadian  Linotype,  Limited, Toronto.  Rcprrscn/afivrs  in  flw  Principal  Cities  off/jcWorlJ 


^CTRADE^IJ^QYYPE'''"'!) 


i:he\ 

Linotype  Garamond  family 

GARAMOND 

GARAMOND 
ITALIC 

GARAMOND 
BOLD 

GARAMOND  BOLD 
ITALIC 

(6  PT.  TO 

36  PT.) 

(6  PT.  TO  30  PT.) 

(6  PT.  TO  36  PT.) 

(6  PT.  TO  30  PT.) 

A 

a 

^AA 

a 

A 

a 

<^A 

a 

B 

b 

"BB 

b 

B 

b 

"BB 

b 

C 

c 

CC 

c 

C 

c 

CC 

c 

D 

d 

T>D 

d 

D 

d 

T>D 

d 

E 

e 

CE 

e 

E 

e 

EE 

e 

F 

f 

F 

f 

F 

f 

F 

f 

G 

§ 

QG 

S 

G 

g 

QG 

8 

H 

h 

H 

h 

H 

h 

H 

h 

I 

i 

I 

i 

I 

• 

1 

I 

• 

t 

J 

J 

J 

i 

J 

• 

J 

• 

K 

k 

K 

k 

K 

k 

K 

k 

L 

1 

JCL 

I 

L 

1 

JCL 

I 

M 

m 

^MM 

in 

M 

m 

^MM 

m 

N 

n 

?iN 

n 

N 

n 

ISiN 

n 

O 

o 

O 

0 

O 

o 

O 

0 

P 

P 

TP 

p 

P 

P 

TP 

P 

Q 

q 

Q 

q 

Q 

q 

Q 

a 

R 

r 

%R 

r 

R 

r 

"KR 

r 

S 

s 

S 

s 

S 

s 

S 

s 

T 

t 

TT 

t 

T 

t 

TT 

t 

U 

u 

U 

u 

U 

u 

U 

u 

V 

V 

V 

V 

V 

V 

V 

V 

W 

w 

W 

w 

W 

TV 

w 

tv 

X 

X 

X 

X 

X 

X 

X 

X 

Y 

y 

YY 

y 

Y 

y 

YY 

y 

Z 

z 

Z 

z 

Z 

z 

Z 

z 

List  of  Characters 


JGaramond  in  Two-Letter  Fonts  with  Italic  and  Small  Cai>s: 

ABCDEFGHIJKLMNOPQRSTUVWXYZ 

ABCDEFGHl]KLMNO?QKSTUYWXYZ 

abcdefghijklmnopqrstuvwxyz 

12345       abcdefghijklmnopqrstuvwxyz       67890 
VBCDE      ahcdcfgbi']kh}iiiopqrstiivwxyz      fgrtj 

,.:;?!  (I)  ==•"-  — vECElfc&£$  fiflffffiffla:oc 

,.s;?!a\qo''' /E  Qi  tb  1^  £  V  I.  fir  ff  w  mkh 

12345       Z&:  (  )  ""flffiffl$xceQLJQua:ft       67890 
12U5       u?^:  ( )""flffiffl$cea'QUQNcfsJ      67H90 

SPECIAL "f"  LOGOTYPES 

f  fF  £  f ,  f-  fF.  fF,  ff-  fa  fe  fo  f r  fs  ft  fu  fy  ff a  ffe  ffo  ffr  If s  ff u  ffy 
fff.fJ-f-f^f-fafefofrfsftfufyfafcfofrfsfHfy 

Sul^plu-J  ..)!  Sfcrial  (Irdcr 


-<"°  LINDTYPE">> 


JGaramond  Bold  in  Two-Letter  Fonts  with  Italic: 

ABCDEFGHIJKLMNOPQRSTUVWXYZ 
ABCDEFGHIJKLMNOPQRSTUVWXYZ 

12345       abcdefghijklmnopqrstuvw^xyz       67890 
12345       abcdefghijkhnnopqrstuvtvxyz       67890 

,.:;?!(  I  )  ==■*' "''y^CEtt>&£$  fifllfffiffliEoe 

,.:;?!  (\)  -•" ''" JECEn>^£$  fiflffffifflcece 

VsVa'AVzVsV^Vs  ^^    @    %t*§f-[] 

(LINOTYPE"') 


5 Italic  Logotypes,  Swash  Characters,  Old  Style  Figures: 

ONE-LETTER    ITALIC    LOGOTYPES 

FA  PA  TA  VA  WA  YA  Th  \Vh         FA  PA  TA  \A  WA  YA  Ya  Ye  Yo  Wa  We  Wo  Ya  Ye  Yo 

Ciram.nul  (,,,,  ,!iiun,d  H.'ld 

TWO-LETTER    LOGOTYPES 

F.  P.  Ta  Te  To  Tr  Tu  Tw  Ty  T.  Va  Vc  Vo  V.  \\a  W'c  Wo  Wr  W:   Ya  \'c  Yo  Y. 
R  P.  Til  Tc  To  Tr  Tn  Tw  Ty  T.  Va  Yc  Yo  Y.  Wn  Wc  Wo  Wr  W  Yd  Yc  Yo  Y. 

Garamund 

SWASH    CHARACTERS 

^■l  -B  C  O  C  C]  J  A'  i:  -^/  K  'P  Q'RTV  Y  t^  ^I'BC'DCgj:  ^i  'TiT%TY&' 

Made  ill  nil  si::,-s.  in  h.'lli  Caiaiiunid  ,:i,d  Caram.nul  /'•■Id.  and  sutt^Urd  on  ,(/>.■<  m/  .od.-r 

OLD    STYLE    FIGURES 

1234567890  1 2}^^6y8^o  1234567890  125^567^90 

Made  in  all  .u::rs  «/  Garamand  and  Gaianiend  Held  and  'elll  be  snl'<l il nied  ler  the  finnres 
leijulaily  jnrnished  -.eiih  a  Sent,  ij  a,,  erdeied.  e,   Ihev  may  be  .uib.^tilnted  >i  t  .;..  .Mf.ii 


421 


Comparison  ofS/z^^— GARAMOND  SERIES 

6  Point  Garamond  with  Italic  and  Small  Caps  (6A274)  Lower  case  alphabet.  80  points.  Figures.  .0415 

C  A  R  A  \4  O  N  D         HOW  is  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of  printing  ra  1 1 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of  printing  ra  vb 

AND 

¥ -T- A  T  T  r"  8  Point  Garamond  with  Italic  and  Small  Caps  (8A373)  Lower  case  alphabet,  97  points.  Figures,  .0553 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  t  12 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  t  vb 

9  Point  Garamond  with  Italic  and  Small  Caps  {9A102)  Lower  case  alphabet.  109  points.  Figures,  .0622 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-  12 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  W by  do  the  pace-  vb 

10  Point  Garamond  with  Italic  and  Small  Caps  (10A304)  Lower  case  alphabet,  121  points.  Figures,  .0692 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  t  12 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  hi  terms  of  its  esthetic  design?  Why  do  t  vb 

11  Point  Garamond  with  Italic  and  Small  Caps  (11A96)  Lower  case  alphabet,  135  points.  Figures,  .0761 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  12 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  vb 

12  Point  Garamond  with  Italic  and  Small  Caps  (12A278)  Lower  case  alphabet,  149  points.  Figures,  .083 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  d  1 2 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  d  vb 

14  Point  Garamond  with  Italic  and  Small  Caps  (14A156)  Lower  case  alphabet,  166  points.  Figures.  .0968 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  es  1 2 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  tervts  of  its  es  vb 

18  Point  Garanic.nd  (I8A265)  Lower  case  alphabet,  194  points.  Figure  1,  .083;  2  to  0.  .1107 

HOW  IS  one  to  assess  and  evaluate  a  type  face  in  terms  12 

24  Point  Garamond  (24A227)  Lower  case  alphabet.  284  points.  Figure  1.  .1245;  2  to  0,  .166 

HOW  IS  one  to  assess  and  evaluate  a  12 

30  Point  Garamond  (30A16.S)  ,  Lower  case  alphabet.  322  points.  Figure  1,  .166;  2  to  0,  .1937 

HOW  IS  one  to  assess  and  evalu  1 2 

36  Point  Garamond  (36A93)  Lower  case  alphabet,  424  points.  Figure  1,  .1937;  2  to  0,  .249 

HOW  IS  one  to  assess  a  12 

18  Point  Garain.ind  Italic  (18A269)  Lower  case  alphabet,  195  points.  Figure  1,  .083;  2  to  0,  ,1107 

HOW  IS  one  to  assess  and  evaluate  a  type  face  in  terms  12 

24  Point  Garamond  Italic  (24A229)  Lower  case  alphabet.  2S2  points.  Figure  1,  .1245;  2  to  0,  .166 

HOW  IS  one  to  assess  and  evaluate  at  12 

30  Point  Garamond  Italic  (30A167)  Lower  case  alphabet,  320  points.  Figure  1,  .166;  2  to  0,  .1937 

HOW  IS  one  to  assess  and  evalu  1 2 


422 


Linotype  GARAMOND  ivith  Italic 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  TACE  IN  TERMS  OV  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE- 
MAKERS IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  OF  TYPE?  WHAT  DO  THEY  SEE  IN  IT?  WHY  IS 

now    IS   tJNK  TO  ASM  S\   AND   I  VAlUATli  A  TYPE  FACL    IN    TLRMS   Ol-    ITS    [  STHITIC   1)1  Sir,  X  ?    ^S  MY    lio    IIIJ     PAf  F  -MAKFKS    IN    THE   ART   OF   I'RINT 


How  is  one  ro  assess  and  evaluate  a  type  face  in  terms  of  it^ 
esthetic  Jcsifjn?  Why  do  the  pace-makers  in  the  art  of  print- 
ing rave  over  a  specific  face  of  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design 
is  always  practical  design.  And  what  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  htness  to  peform  its 
work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right 
for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all 
of  its  parts  made  nicely  to  the  right  size  to  do  exactly  the 
work  that  the  chair  has  to  do  — neither  clumsy  and  thick,  nor 
"skinny"  and  weak  —  no  waste  of  material  and  no  lack  of 
strength.  And,  beyond  that,  the  chair  may  have  been  made  bv 
a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and  curves 
and  proportions  — it  may  be,  actually,  a  work  of  art.  The  same 
thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  let- 
ter (if  a  true  artist  made  it)  will  have,  besides  its  good  looks,  a 
suitability  to  the  "th  degree  to  be  sat  in,  or  stamped  on  paper 
and  read.  That  explains,  in  a  way,  why  the  experts  rave  over 
the  fine  shapes  of  letters;  but  it  falls  to  explain  wherein  the 
shapes  are  fine.  If  you  seek  to  go  further  with  the  inquiry,  the- 
ories will  be  your  only  answer.  Here  is  a  theory  that  the  pro- 
ponent thinks  may  have  sense  in  it:  Fine  type  letters  were,  in 

tcrvn   uf  ,t. 
rt  uf  prn„- 


ABCDEFGHIJKEM 
ABCDEFGUilKLM 


1  low  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its 
esthetic  design?  Why  do  the  pace-makers  in  the  art  of  print- 
ing rave  over  a  specific  face  of  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design 
is  always  practical  design.  And  what  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fitness  to  peform  its 
work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right 
for  its  size,  as  any  good  tool  has.  Yuur  good  chair  has  all 
of  its  parts  made  nicely  to  the  right  si/e  to  do  exactly  the 
work  that  the  chair  has  to  do  —  neither  clumsy  and  thick,  nor 
"skinny"  and  weak  — no  waste  of  material  and  no  lack  of 
strength.  And,  beyond  that,  the  chair  may  have  been  made  by 
a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and  curves 
and  proportions  — it  may  be,  actually,  a  work  of  art.  The  same 
thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  let- 
ter (if  a  true  artist  made  it)  will  have,  besides  its  good  looks,  a 
suitability  to  the  ?nh  degree  to  be  sat  in,  or  stamped  on  paper 
and  read.  That  explains,  in  a  way,  why  the  experts  rave  over 
the  fine  shapes  of  letters;   but   it   falls  to  explain   wherein  the 


ll,,W    M 

one  I 

■•)  ,n«-is  ■/!; 

:/  ,-rah,,lr  .,   Ixln-  j ,u  c  , 

o/AW-i 

-  Jeus 

;«?  W/.y  J 

„  the   ;..„, ■-//«/■,■.>   n,  Ih 
(solid) 

How  h  one  to  anfn  uii,l  ciuluali- 
esthetic  Jeugii?   Win'  .lo  the  /.j.  .■-; 
(.'Ill-  l^oinl  I,; 

NOPQKSTUVWXYZ& 
NUPQRSTVVWXYZfi 


,ul.-n 
,l,;l  I 


la 


"/ 


„/  I., 


Am  [)l  If.HI.IKI  MNorQKSTUVW\Y/& 


abc-defghijklmnopqrstuvwxyz  1 ; 
ahiJelg/iiiklmiwInir^tni  ir\  v:  /- 


!45(-,789()($i:, 
HS(,7SSiO(Si, 


'?!'t)ii34S''789<' 


Matrix  hiformatioit     (.A-"4.   I.etiKth  uf  lower  case  alplialiet.  80  points,  rnmnia.  iieriml  aiul  tliiii  spaLC.   .nJ77;  fiKiires.   .0415. 
Will  run  in  yo  iliaiiiifl  l.iyniit.  Cule  wnnl.  K.\.\V. 


POINT 


-C     LINOTYPE     )- 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN? 
WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  OF  TY 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE   lACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?   WHY  DO  THE   PACE-MAK 


How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace-mak- 
ers in  the  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it  so  superla- 
tively pleasant  to  their  eyes?  Good  design  is  always 
practical  design.  And  what  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fitness  to 
perform  its  work.  It  has  a  "heft"  and  balance  in  all  of 
its  parts  just  right  for  its  size,  as  any  good  tool  has. 
Your  good  chair  has  all  of  its  parts  made  nicely  to 
the  right  size  to  do  exactly  the  work  that  the  chair 
has  to  do — neither  clumsy  and  thick,  nor  "skinny  " 
and  weak— no  waste  of  material  and  no  lack  of 
strength.  And,  beyond  that,  the  chair  may  have  been 
made  by  a  man  who  worked  out  in  it  his  sense  of  fine 
sh.ipes  and  curves  and  proportions  — it  may  be,  actu- 

llow  is  out-  to  iissi-is  ciiiil  tiidiiiitc  a  type  face  hi 
Icrnii  (if  its  esthetic  desiy^ii?  VV'/iy  </o  the  piue-miik- 

(  iol),I\ 


1  low  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace-mak- 
ers in  the  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it  so  superla- 
tively pleasant  to  their  eyes?  Good  design  is  always 
practical  design.  And  what  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fitness  to 
perform  its  work.  It  has  a  "heft"  and  balance  in  all  of 
its  parts  just  right  for  its  size,  as  any  good  tool  has. 
Your  good  chair  has  all  of  its  parts  made  nicely  to 
tlie  right  size  to  do  exactly  the  work  that  the  chair 
has  to  do— neither  clumsy  and  thick,  nor  "skinny" 
and  weak— no  waste  of  material  and  no  lack  of 
■-trength.  And,  beyond  that,  the  chair  may  have  been 

How  is  one  to  ii\seis  and  eialuiitr  a  type  fiice  in 
terms  of  its  esthetic  desif;ii?  Why  do  the  pace-mak- 

I  ,/»,■  l^'inl  li-iidi-Ji 


Matrix  hiiorintilioii     SA  !7J.    I 
Will  run  in  '»)  clianiicl  layc.nt. 


ABCDEFGHI JKLMNOPQRSTUV  WX  YZ& 
ABCDEFGHl'jKLMNOPQRSTUVWXYZd 

ABCDEFGHI  J  KLMNOPQKSTUVWXYZ8I 

abcdefghijklmnopqrstuvwxyz  1  2345  67890  ($£,.:;'-'?!  "t)  i  ^34567890 
,ibcdefy,hi]klinnopqrstinw\yz  1 2}-4Sb7H90(  $£,.: ;'-'?!   ^)  i  2U'>(>7>l')o 

Ih  111  lower  case  alplialiet.  ')7  points,   (omnia,  period  anil  thin  spaee 


8 

POINT 


ill  lower  cas 
inl.  K.^VX. 


figures,  .0553. 


423 


Linotype  GARAMOND  ^uifb  Italic 


9 

POINT 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC 
DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPE 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers 
in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superla- 
tively pleasant  to  their  eyes?  Good  design  is  always  practical  design.  And  what  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all 
of  its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely 
to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do— neither  clumsy  and  thick,  nor 
"skinny"  and  weak— no  waste  of  material  and  no  lack  of  strength.  And,  beyond  that,  the  chair  may 
have  been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and  curves  and  proportions— it 
may  be,  actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or  your 
letter  (if  a  true  artist  made  it)  will  have,  besides  its  good  looks,  a  suitability  to  the  «th  degree  to  be  sat 
in,  or  stamped  on  paper  and  read.  That  explains,  in  a  way,  why  the  experts  rave  over  the  fine  shapes  of 
letters;  but  it  fails  to  explain  wherein  the  shapes  are  fine.  If  you  seek  to  go  further  with  the  inquiry, 
theories  will  be  your  only  answer.  Here  is  a  theory  that  the  proponent  thinks  may  have  sense  in  it: 
Fine  type  letters  were,  in  the  first  place,  copies  of  fine  written  letters.  Fine  written  letters  were  fine 
because  they  were  produced  /;;  the  most  direct  ami  simple  way  by  a  tool  in  the  hands  of  a  person  ex- 
pert in  its  use— by  a  person,  moreover,  who  was  an  artist  (i.e.,  a  person  equipped  to  make  sound  judg- 
ments about  lines,  curves,  proportions,  etc.) .  The  artist  of  that  moment  when  printing  was  invented 

(l7vo  point  leaded) 


How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  spe- 
cific face  of  type?  What  do  they  see  in  it?  Why 
is  it  so  superlatively  pleasant  to  their  eyes? 
Good  design  is  always  practical  design.  And 
what  they  see  in  a  good  type  design  is,  partly,  its 
excellent  practical  fitness  to  perform  its  work. 
It  has  a  "heft"  and  balance  in  all  of  its  parts 
just  right  for  its  size,  as  any  good  tool  has.  Your 
good  chair  has  all  of  its  parts  made  nicely  to 
the  right  size  to  do  exactly  the  work  that  the 
chair  has  to  do — neither  clumsy  and  thick,  nor 
"skinny"  and  weak— no  waste  of  material  and 
no  lack  of  strength.  And,  beyond  that,  the  chair 
may  have  been  made  by  a  man  who  worked  out 
in  it  his  sense  of  fine  shapes  and  curves  and  pro- 
portions—it may  be,  actually,  a  work  of  art. 
The  same  thing  holds  for  shapes  of  letters.  And 
your  chair,  or  your  letter  (if  a  true  artist  made 

How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  spe- 

(solid) 


How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  spe- 
cific face  of  type?  What  do  they  see  in  it?  Why 
is  it  so  superlatively  pleasant  to  their  eyes? 
Good  design  is  always  practical  design.  And 
what  they  see  in  a  good  type  design  is,  partly,  its 
excellent  practical  fitness  to  perform  its  work. 
It  has  a  "heft"  and  balance  in  all  of  its  parts 
just  right  for  its  size,  as  any  good  tool  has.  Your 
good  chair  has  all  of  its  parts  made  nicely  to 
the  right  size  to  do  exactly  the  work  that  the 
chair  has  to  do  — neither  clumsy  and  thick,  nor 
"skinny"  and  weak  — no  waste  of  material  and 
no  lack  of  strength.  And,  beyond  that,  the  chair 
may  have  been  made  by  a  man  who  worked  out 
in  it  his  sense  of  fine  shapes  and  curves  and  pro- 
portions—it may  be,  actually,  a  work  of  art. 

How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  spe- 

(one  point  leaded) 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHl)KLMNOPQRSTUVWXYZ& 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyz  1234  567890  ($£,.:;'-'? !''t)  1234567890 
abcdefghijklmnopqrstuvwxyz  12)4567 890($£,.:;'-'?!   \)  12^4)6/^90 


Matrix  Injormation  :  9AI02.  Length  of  lower  case  alphabet.  109  points. 
Will  run  in  90  channel  layout.  Code  word,  KEAL. 


Comma,  period  and  thin  space,  .0311;  figures,  .0622. 


424 


Linotype  GARAMOND  tvitJo  Italic 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ES- 
THETIC DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  lO 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY         POI  NT 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is 
it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  practical  design.  And  what 
they  see  in  a  good  type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its  work.  It 
has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your 
good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly  the  work  that  the 
chair  has  to  do— neither  clumsy  and  thick,  nor  "skinny"  and  weak  — no  waste  of  material 
and  no  lack  of  strength.  And,  beyond  that,  the  chair  may  have  been  made  by  a  man  who 
worked  out  in  it  his  sense  of  fine  shapes  and  curves  and  proportions— it  may  be,  actually,  a 
work  of  art.  The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  letter  (if  a 
true  artist  made  it)  will  have,  besides  its  good  looks,  a  suitability  to  the  ;7th  degree  to  be  sat 
in,  or  stamped  on  paper  and  read.  That  explains,  in  a  way,  why  the  experts  rave  over  the  fine 
shapes  of  letters;  but  it  fails  to  explain  wherein  the  shapes  are  fine.  If  you  seek  to  go  further 
with  the  inquiry,  theories  will  be  your  only  answer.  Here  is  a  theory  that  the  proponent 
thinks  may  have  sense  in  it:  Fine  type  letters  were,  in  the  first  place,  copies  of  fine  written 
letters.  Fine  written  letters  were  fine  because  they  were  produced  /'/;  the  inosf  direct  and  s/m- 

ll~,vo  foint  haded) 

How  is  one  to  assess  and  evaluate  a  type  How  is  one  to  assess  and  evaluate  a  type 

face  in  terms  of  its  esthetic  design?  Why  face  in  terms  of  its  esthetic  design?  Why 

do  the  pace-makers  in  the  art  of  printing  jo  the  pace-makers  in  the  art  of  printing 

rave  over  a  specific  face  of  type?  What  do  ,,^^  ^^^^  ^^  ^p^^j^^^  f ^^^  ^f  ^yp^,  >j^hat  do 

they  see  in  it?  Why  is  it  so  superlatively  ^i  •     •.-,  -.v/^i      •    ■  i     •     r 

■  -^  ,  .  -,^11.  .  1  they  see  in  it?  why  is  it  so  superlatively 
pleasant  to  their  eyes?  Good  design  is  al-  ,  ,  .  ^  ^  i  i  •  •  / 
,•  1  1  •  A  J  u  L  pleasant  to  their  eyes?  Good  design  is  al- 
ways practical  design.  And  what  they  see  ^  .  ,  ,  .  i  i  i 
in  a  good  type  design  is,  partly,  its  excellent  ^'''y^  practical  design.  And  what  they  see 
practical  fitness  to  perform  its  work.  It  has  '"  '^  g^od  type  design  is,  partly,  its  excellent 
a  "heft"  and  balance  in  all  of  its  parts  just  practical  fitness  to  perform  its  work.  It  has 
right  for  its  size,  as  any  good  tool  has.  Your  a  '''left"  and  balance  in  all  of  its  parts  just 
good  chair  has  all  of  its  parts  made  nicely  f'g'^t  for  its  size,  as  any  good  tool  has.  Your 
to  the  right  size  to  do  exactly  the  work  that  good  chair  has  all  of  its  parts  made  nicely 
the  chair  has  to  do-neither  clumsy  and  to  I'e  right  size  to  do  exactly  the  work  that 
thick,  nor  "skinny"  and  weak-no  waste  the  chair  has  to  do-neither  clumsy  and 
of  material  and  no  lack  of  strength.  And, 

How  is  one  to  assess  and  evaluate  a  type  ^oii^  «  one  to  assess  and  evaluate  a  type 

face  in  terms  of  its  esthetic  design?  Why  face  in  terms  of  its  esthetic  design?  Why 

do  the  pace-makers  in  the  art  of  printing  do  the  pace-makers  in  the  art  of  printing 

(i.diJI  ((•«,■  p.nnt  InidrdI 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGH1JKLMNOPQRSTUVWXYZ& 

ABCDEFGHIJKLMNOPQRSTUV\VXYZ& 

abcdefghijklmnopqrstuvwxyz  1 2345 67890 ($£,.:;'-'?!'■" t)  i -^345 67890 
abcdefghijkhnnopi/rstnvwxyz  1234567S90($£,.: ;'-'?!   1)1234567890 

Matrix  liitininatiiiii  10A304.  Length  uf  lower  caise  aliJliabet,  l_'l  imints,  Coniina.  penoil  and  lliiii  spatf.  MMf,;  fisurcs,  .0692. 
Will  run  III  '«)  Lhaiiiitl  layout.  Code  word,  KE.'VS. 


425 


Linotype  GARAMOND  tvith  Italic 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF 
II  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  O 

POINT        HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESI 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do 
the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do 
they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always 
practical  design.  And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent 
practical  fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts 
just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made 
nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do— neither 
clumsy  and  thick,  nor  "skinny"  and  weak— no  waste  of  material  and  no  lack  of 
strength.  And,  beyond  that,  the  chair  may  have  been  made  by  a  man  who  worked 
out  in  it  his  sense  of  fine  shapes  and  curves  and  proportions  — it  may  be,  actually,  a 
work  of  art.  The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  let- 
ter (if  a  true  artist  made  it)  will  have,  besides  its  good  looks,  a  suitability  to  the  ;7th 
degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That  explains,  in  a  way,  why  the 
experts  rave  over  the  fine  shapes  of  letters;  but  it  fails  to  explain  wherein  the  shapes 
are  fine.  If  you  seek  to  go  further  with  the  inquiry,  theories  will  be  your  only  an- 

(two  point  leaded) 

How  is  one  to  assess  and  evaluate  a  type  How  is  one  to  assess  and  evaluate  a  type 

face  in  terms  of  its  esthetic  design?  face  in  terms  of  its  esthetic  design? 

Why  do  the  pace-makers  in  the  art  of  Why  do  the  pace-makers  in  the  art  of 

printing  rave  over  a  specific  face  of  printing  rave  over  a  specific  face  of 

ty pe ?  What  do  they  see  in  it  ?  Why  is  it  ^yp^ >  y^^^^  j^  they  see  in  it ?  Why  is  it 

so  superlatively  pleasant  to  their  eyes?  ^^  superlatively  pleasant  to  their  eyes? 

Good  design  is  always  practical  design.  /-      j  j    •       •     i                   _•     i  j    • 

.      ,      ,    °  ,             <    ^          ,            J  Good  design  is  always  practical  design. 

And  what  they  see  in  a  good  type  de-  .111              •                i             1 

^1       •             11     ^          .-■     1  And  what  they  see  in  a  good  type  de- 
sign IS,  partly,  its  excellent  practical  .        .                -^  .              y                  ■     ^ 

fitness  to  perform  its  work.  It  has  a  «'§"  ^S'  P^^^^'  ^^  excellent  practical 

"heft"  and  balance  in  all  of  its  parts  ^^ness  to  perform  its  work.  It  has  a 

just  right  for  its  size,  as  any  good  tool  "heft"  and  balance  in  all  of  its  parts 

has.  Your  good  chair  has  all  of  its  parts  just  right  for  its  size,  as  any  good  tool 

made  nicely  to  the  right  size  to  do  ex-  has.  Your  good  chair  has  all  of  its  parts 

How  is  one  to  assess  and  evaluate  a  type  How  is  one  to  assess  and  evaluate  a  type 

face  in  terms  of  its  esthetic  design?  face  in  terms  of  its  esthetic  design? 

Why  do  the  pace-makers  in  the  art  of  Why  do  the  pace-makers  in  the  art  of 

(solid)  (one  point  leaded) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ABCDEFGHIJKLMNOPQRST  UVWXYZ& 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyz  1234^67890($£,.:;'-'?!"'t)  1234567890 

abcdefghiiklmnopqrstuvivxyz  12}4567890($£,.: ;'-'?!  Y)  12^4^67890 

Matrix  Information:  11A96.  Length  of  lower  case  alphabet,  135  points.  Comma,  period  and  thin  space,  .038;  figures.  .0761. 
Will  run  in  90  channel  layout.  Code  word.  KEEM.  , 


426 


Linotype  GARAMOND  with  Italic 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TE 

RMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS         12 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHET       POINT 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design.  And  what  they  see  in  a  good 
type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its  work.  It 
has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good 
tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to 
do  exactly  the  work  that  the  chair  has  to  do— neither  clumsy  and  thick,  nor 
"skinny"  and  weak— no  waste  of  material  and  no  lack  of  strength.  And,  be- 
yond that,  the  chair  may  have  been  made  by  a  man  who  worked  out  in  it  his 
sense  of  fine  shapes  and  curves  and  proportions— it  may  be,  actually,  a  work 
of  art.  The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or  your 
letter  (if  a  true  artist  made  it)  will  have,  besides  its  good  looks,  a  suitability 
to  the  ;;th  degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That  explains, 
in  a  way,  why  the  experts  rave  over  the  fine  shapes  of  letters;  but  it  fails  to 
explain  wherein  the  shapes  are  fine.  If  you  seek  to  go  further  with  the  in- 
quiry, theories  will  be  your  only  answer.  Here  is  a  theory  that  the  proponent 
thinks  may  have  sense  in  it:  Fine  type  letters  were,  in  the  first  place,  copies 
of  fine  written  letters.  Fine  written  letters  were  fine  because  they  were  pro- 
duced ///  the  most  direct  and  simple  ivay  by  a  tool  in  the  hands  of  a  person 
expert  in  its  use— by  a  person,  moreover,  who  was  an  artist  {i.e.,  a  person 
equipped  to  make  sound  judgments  about  lines,  curves,  proportions,  etc.) . 
The  artist  of  that  moment  when  printing  was  invented  who  furnished  the 
fine  written  patterns  for  type  was  (luckily  for  printing)  working  at  the 
top  notch  of  a  fine  tradition  of  calligraphy.  He  was  making  sound  judg- 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their 

tl-U'.j  fninl  leaded  I 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGH]]KLMNO?QKSTUYWXYZf3 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyz  1234567890($£,.:;'-'?!''"t)  1234567890 
abcdefghijklmnopqrstuvivxyz  12}4567890($£,.: ;'-'?!   \)  12)4^67890 

Matrix  Iviormatiiiit  ■  IJA-^X  I.ensth  of  lower  case  aliih.iliet,  14''  points,  (oniiiia.  period  and  thin  space.  .0415;  figures.  .0.1.5. 
Will  run  in  yu  channel  layont.  Code  word.  KK.IN. 


427 


Linotype  GARAMOND  tvitb  Italic 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE 
H        IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PA 


POINT 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic 
design?  Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a 
specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superla- 
tively pleasant  to  their  eyes?  Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent  prac- 
tical fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of 
its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair 
has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly  the  work 
that  the  chair  has  to  do— neither  clumsy  and  thick,  nor  "skinny" 
and  weak— no  waste  of  material  and  no  lack  of  strength.  And,  be- 
yond that,  the  chair  may  have  been  made  by  a  man  who  worked  out 
in  it  his  sense  of  fine  shapes  and  curves  and  proportions — it  may  be, 
actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of  letters. 
And  your  chair,  or  your  letter  (if  a  true  artist  made  it)  will  have, 
besides  its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or 
stamped  on  paper  and  read.  That  explains,  in  a  way,  why  the  experts 
rave  over  the  fine  shapes  of  letters;  but  it  fails  to  explain  wherein  the 
shapes  are  fine.  If  you  seek  to  go  further  with  the  inquiry,  theories 
will  be  your  only  answer.  Here  is  a  theory  that  the  proponent  thinks 
may  have  sense  in  it:  Fine  type  letters  were,  in  the  first  place,  copies 

Hoiv  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic 
design?  Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a 
specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superla- 


(two  point  leaded) 


ABCDEFGHI JKLMNOPQRSTU V WX YZ&  ($£,.:;'-'?!■- 1 ) 
ABCDEFGHIJKLMNOPORSTUVWXYZ&  ($£,.:;'-'?!  tj 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

1234567890  abcdefghijklmnopqrstuvwxyz  1234567890 
1234567890  abcdefghijklmnopqrstuvwxyz  i2}^')6jS^o 

Matrix  Injormation:  14A156.  Length  of  lower  case  alphabet,  166  points.  Comma,  period  and  thin  space.  .0484;  figures,  .0968. 
Will  run  in  90  channel  layout.  Code  word,  KEIV. 


428 


Linotype  GARAMOND 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TY 
PE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN? 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of 
its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of 
printing  rave  over  a  specific  face  of  type?  What  do  they  see 
in  it  ?  Why  is  it  so  superlatively  pleasant  to  their  eyes  ?  Good 
design  is  always  practical  design.  And  what  they  see  in  a 
good  type  design  is,  partly,  its  excellent  practical  fitness  to 
perform  its  work.  It  has  a  ''heft"  and  balance  in  all  of  its 
parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good 
chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do 
exactly  the  work  that  the  chair  has  to  do — neither  clumsy 
and  thick,  nor  "skinny"  and  weak — no  waste  of  material 
and  no  lack  of  strength.  And,  beyond  that,  the  chair  may 
have  been  made  by  a  man  who  worked  out  in  it  his  sense  of 
fine  shapes  and  curves  and  proportions — it  may  be,  actu- 
ally, a  work  of  art.  The  same  thing  holds  for  shapes  of  let- 
ters. And  your  chair,  or  your  letter  (if  a  true  artist  made 
it)  will  have,  besides  its  good  looks,  a  suitability  to  the  nth 
degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That  ex- 
plains, in  a  way,  why  the  experts  rave  over  the  fine  shapes 
of  letters ;  but  it  fails  to  explain  wherein  the  shapes  are  fine. 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyz  ($,.: ;'-'?! ) 
1234567890   1234567890 

!'  ttrir  I)it:trmatiii,i  ISA-''i5.  I.eiiKlli  of  lower  t;ise  alphaliet,  I'M  poitus.  CoiiinKt.  ijcnoil  and  thin  spare.  .n35.i;  figure  1,  .08,3; 
2to  0.  .1I(J7.  Will  run  m  W  LliaiuicI  layout.    1(,  point  ali.nnnient.  l.'otio  vvonl.   KKI..\. 


i8 

POINT 


429 


24 

POINT 


30 

POINT 


430 


Linotype  GARAMOND 


How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printi 
ng  rave  over  a  specific  face  of  type?  Wh 
a  1234567890  1234567890  ($,.:;'-'?!) 


(two  point  leaded) 


ABCDEFGHIJKLMNOPQRSTUV 

abcdef  ghij  klmnopqrstuvwxy  z 

Matrix  Information :  24A227.  Length  of  lower  case  alphabet,  284  points.  Comma  and  period,  .083;  thin  space,  .0277;  figure  1, 
.1245;  2  to  0,  .166.  Will  run  in  Display  Linotypes.  72  channel  layout;  also  lower  case  except  m  and  w  in  cap  channels  90  chan- 
nel magazine  and  in  34  channel  auxiliary  magazine.  22  point  alignment.  Code  word.  KEME. 


-<-  LINOTYPE"    )- 


How  is  one  to  assess  and  evaluate  a 
type  face  in  terms  of  its  esthetic  de 
sign?  Why  do  the  pace-makers  in  t 
hearto  I23456789O1234567890 


(two  point  leaded) 


ABCDEFGHIJKLMNOPQRS 

TUVWXYZ&($,.:;'-'?!) 
abcdef  ghij  klmnopqrstuvwxy  z 

Matrix  Information :  30A165.  Length  of  lower  case  alphabet.  322  points.  Comma  and  period,  .0968;  thin  space.  .0277;  figure  1, 
.166;  2  to  0,  .1937.  Will  run  in  Wide  72  channel  magazine;  also  lower  case  in  cap  channels  72  channel  magazine,  with  caps  and 
figures  in  Wide  34  channel  auxiliary  magazine.  28  point  alignment.  Code  word,  KENL 


Linotype  GARAMOND 


(two  point  leaded) 


ABCDEFGHIJKLMNO 
PQRSTUVWXYZ& 

abcdef  ghi  j  klmnopqrs  tu  v 
I23456789O1234567890 

Matrix  Information :  Mi£\93.  Length  of  lower  case  alphabet.  424  points.  C.mma  and  period.  .1.'45;  thin  space.  .0277;  figure  1, 
.1937;  2  to  0.  .249.  Will  run  in  wide  auxiliary  magazine;  also  lower  case  extept  ni  in  c;ip  channels  72  channel  magazine.  34 
point  alignment.  Code  word,  KEOP. 


POINT 


How  is  one  to  assess  and  ev  36 
aluate  a  type  face  in  terms 
of  its  esthetic  design?  Why 
do  the  pace-makers  in  the 
art  of  printing  rave  over  a 
specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it 
so  superlatively  pleasant  to 
their  eyes?  Goo  ($,.:;'-'?!) 


431 


Linotype  GARAMOND  ITALIC 


i8 

POINT 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TY 
PE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN? 

Hoiv  is  one  to  assess  and  evahiate  a  type  face  in  terms  of 
its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of 
printing  rave  over  a  specific  face  of  type?  What  do  they  see 
in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good 
design  is  ahvays  practical  design.  And  what  they  see  in  a 
good  type  design  is,  partly,  its  excellent  practical  fitness  to 
perform  its  tvork.  It  has  a  ^^heff'  and  balance  in  all  of  its 
parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good 
chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do 
exactly  the  tvork  that  the  chair  has  to  do — neither  clum^sy 
and  thick,  nor  '^skinny"  and  tveak — no  tvaste  of  material 
and  no  lack  of  strength.  And,  beyond  that,  the  chair  may 
have  been  made  by  a  man  tvho  tvorked  out  in  it  his  sense  of 
fine  shapes  and  cjirves  and  proportions — //  may  be,  actu- 
ally, a  tvork  of  art.  The  same  thing  holds  for  shapes  of  let- 
ters. And  your  chair,  or  your  letter  (if  a  true  artist  made 
it)  tvill  have,  besides  its  good  looks,  a  suitability  to  the  nth 
degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That  ex- 
plains, in  a  tvay,  tvhy  the  experts  rave  over  the  fine  shapes 
of  letters;  but  it  fails  to  explain  tvherein  the  shapes  are  fine. 

(two  point  leaded) 

ABCDEFGHIJKLMNOPORSTUVWXYZ& 

abcdefghijklmnopqrstuvtvxyz  ($,.:  ;^-'?! ) 
1234567890  12^4^67890 

Matrix  Injormation  :  18A269.  Length  of  lower  case  alphabet.  195  points.  Comma,  period  and  thin  space,  .0553;  figure  1,  .083; 
2  to  0,  .1107.  Will  run  in  90  channel  layout.  16  point  alignment.  Code  word.  KEPO. 


432 


Linotype  GARAMOND  ITALIC 


Hoiv  is  one  to  assess  and  evahiate  a  type     24 
face  in  terms  of  its  esthetic  design?  Why  '^"'''^ 
do  the  pace-makers  in  the  art  of  printi 
ng  rave  over  a  specific  face  of  type?  Wh 
at  1234^7890  12^4^67890  ($,.:;'-'?!) 

(two  fniil  I'-adcdl 

ABCDEFGHIJKLMNOPQRSTUVW 

abcdefghijklmnopqrstuvwxyz 

Matiix  liifonuatioii :  24A22'.f.  l-eiik'tii  -if  lower  case  alphahet.  J.S2  points.  Cniimia  and  pcrioil.  .0X3;  tlnn  spaw.  .0277;  tiwure  1. 
.124?:  -  tu  0.  .1'/).  Will  run  in  Display  I-inutypes.  72  cliniuiel  layuit  :  also  l.iwcr  case  exLt-pt  ni  and  \v  in  cap  diannels  ')')  chan- 
nel niaL,'a/ine  and  in  .14  cliannel  auxiliary  magazine.  22  pi>int  alii^ninent.  C.'dc-  word.  KEQU. 

(LINOTYPE     ) 


How  is  one  to  assess  and  evahiate  a  t 
ype  face  in  tervts  of  its  esthetic  desi 
gn?  Why  do  the  pace-makers  in  th 
e  art  of  1234^67890  i2^4^6y8c,o 


30 

POINT 


((!£'(>  f'int  !i-i2di-d) 


ABCDEFGHIJKLMNOPQKS 

TUVWXYZ&  ($,.:;'-'?!) 
abcdefghi)klmnopqvstuviuxyz 

Matrix  Injoimotion  :  .lOAI'^/-  Lenutli  oi  lower  case  alplialiet.  320  points.  Conuna  and  i)eriod.  .O'J^S;  thin  space.  .0277;  liirurc  1. 
.160;  2  to  0.  .19.57.  Will  rnn  in  Wide  72  thannel  magazine;  also  Icjwer  case  in  cap  channels  72  channel  inaiia/ine.  with  laps  ,ind 
figures  in  Wide  34  cliannel  auxiliaty  ntav^azine.  2S  point  alisnineiit.  Code  word,  KKRV. 


433 


Comparison  of  S/z^'s— GAR AMOND  BOLD  SERIES 

6  Point  Garaiiiond  Bold  with  Italic  (6A286)  Lower  case  alphabet.  89  points.  Figures.  .0484 

C  A  R  A  TVT  ON  D         HOW  is  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of  12 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of  12 

BOLD  AND 

1  1  Ai^lv-  g  p.^1^^^  Garamond  Bold  with  Italic  ISA380)  Lower  case  alphabet.  108  points.  Figures.  .0522 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-m  12 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-m  12 

10  Point  Garamond  Bold  with  Italic  (10A3N)  Lower  case  alphabet.  135  points.  Figures,  .0761 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  12 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design}  12 

12  Point  Garamond  Bold  with  Italic  (12A286)  Lower  case  alphabet.  169  points.  Figures.  .0968 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  es  1 2 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  es  12 

14  Point  Garamond  Bold  with  Italic  (14A164)  Lower  case  alphabet.  187  points.  Figures,  .1107 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  1 2 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  1 2 

18  Point  Garamond  Bold  (18A277)  Lower  case  alphabet.  219  points.  Figure  1,  .0968;  2  to  0.  .1107 

HOW  IS  one  to  assess  and  evaluate  a  type  face  in  12 

24  Point  Garamond  Bold  (24A235)  Lower  case  alphabet.  313  points.  Figure  1.  .1383;  2  to  0,  .166 

HOW  IS  one  to  assess  and  evalua  12 

30  Point  Garamond  Bold  (.30A173)  Lower  case  alphabet,  355  point.  Figure  1,  .166;  2  to  0,  .1937 

HOW  IS  one  to  assess  and  eva  12 

36  Point  Garamond  Bold  (36A97)  Lower  case  alphabet.  470  points.  Figure  1,  .1937;  2  to  0,  .249 

HOW  IS  one  to  assess  12 

18  Point  Garamond  Bold  Italic  (18A279)  Lower  case  alphabet,  219  points.  Figure  1,  .0968;  2  to  0.  .1107 

HOW  IS  one  to  assess  and  evaluate  a  type  face  in  12 

24  Point  Garamond  Bold  Italic  (24A-37)  Lower  case  alphabet,  312  points.  Figure  1.  .1383;  2  to  0.  .166 

HOW  IS  one  to  assess  and  evalua  12 

30  Point  Garamond  Bold  Italic  (30A175)  Lower  case  alphabet,  358  points.  Figure  1,  .166;  2  to  0.  .1937 

HOW  IS  one  to  assess  and  eva  12 


434 


Linotype  GARAMOND  BOLD  with  Italic 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE 
PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of 
its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of 
printing  rave  over  a  specific  face  of  type?  What  do  they 
see  in  it?  Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design.  And  what 
they  see  in  a  good  type  design  is,  partly,  its  excellent 
practical  fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as  any 
good  tool  has.  Your  good  chair  has  all  of  its  parts  made 
nicely  to  the  right  size  to  do  exactly  the  work  that  the 
chair  has  to  do  — neither  clumsy  and  thick,  nor  "skinny" 
and  weak  — no  waste  of  material  and  no  lack  of  strength. 
And,  beyond  that,  the  chair  may  have  been  made  by  a 
man  who  worked  out  in  it  his  sense  of  fine  shapes  and 
curves  and  proportions- it  may  be,  actually,  a  work  of 
art.  The  same  thing  holds  for  shapes  of  letters.  And  your 
chair,  or  your  letter  (if  a  true  artist  made  it)  will  have, 
besides  its  good  looks,  a  suitability  to  the  nth  degree  to 
be  sat  in,  or  stamped  on  paper  and  read.  That  explains, 
in  a  way,  why  the  experts  rave  over  the  fine  shapes  of 
letters;  but  it  fails  to  explain  wherein  the  shapes  are 
fine.  If  you  seek  to  go  further  with  the  inquiry,  theories 
w^ill  be  your  only  answer.  Here  is  a  theory  that  the  pro- 
ponent   thinks    may   have  sense   in    it:    Fine   type    letters 

Horv  is  one  to  assess  and  evaluate  a  type  face  in  terms  of 
its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of 

(solid) 


IN  TERMS  OF  ITS  ESTHETIC  DESIGN?   WHY   DO  THE 
SPECIFIC  FACE  OF  TYPE?  WHAT  DO  THEY  SEE  IN  IT? 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of 
its  esthetic  design?  Why  do  the  pace-makers  in  the  an  of 
printing  rave  over  a  specific  face  of  type?  What  do  they 
see  in  it?  Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design.  And  M'hat 
they  see  in  a  good  type  design  is,  partly,  its  excellent 
practical  fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as  any 
good  tool  has.  Your  good  chair  has  all  of  its  parts  made 
nicely  to  the  right  size  to  do  exactly  the  work  that  the 
chair  has  to  do  — neither  clumsy  and  thick,  nor  "skinny" 
and  weak  —  no  w^aste  of  material  and  no  lack  of  strength. 
And,  beyond  that,  the  chair  may  have  been  made  by  a 
man  ■who  worked  out  in  it  his  sense  of  fine  shapes  and 
curves  and  proportions  — it  may  be,  actually,  a  work  of 
art.  The  same  thing  holds  for  shapes  of  letters.  And  your 
chair,  or  your  letter  (if  a  true  artist  made  it)  will  have, 
besides  its  good  looks,  a  suitability  to  the  nth  degree  to 
be  sat  in,  or  stamped  on  paper  and  read.  That  explains, 
in  a  way,  why  the  experts  rave  over  the  fine  shapes  of 
letters;    but    it    fails    to   explain    wherein    the   shapes    are 

Hou>  is  one  to  assess  and  evaluate  a  type  face  in  terms  of 
its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of 

(one  point  leaded  i 


6 

POINT 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIIKLMNOPQRSTUVWXYZ'J 

abcdefghijklmnopqrstuvwxyz  1234567890($£, .:;'-'?!'*  t)'234567890 
abcdefghijklmnopqrstuvwxyz  12i4i67 »90 ($£,.:;'-'} '.''Y)  12)4^67 S^o 


Matrix  Information:  6A-86.  Length  of  lower  case  alphabet.  S9  points.  Co 
Will  run  in  90  channel  layout.  Code  word.  KESA. 


na.  period  and  thin  space.  .0277;  figures,  .0484. 


-(     LINOTYPE""> 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESI 
GN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FA 


How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  spe- 
cific face  of  type?  What  do  they  see  in  it?  Why 
is  it  so  superlatively  pleasant  to  their  eyes? 
Good  design  is  always  practical  design.  And 
•what  they  see  in  a  good  type  design  is,  partly, 
its  excellent  practical  fitness  to  perform  its 
■work.  It  has  a  "heft"  and  balance  in  all  of  its 
parts  just  right  for  its  size,  as  any  good  tool 
has.  Your  good  chair  has  all  of  its  parts  made 
nicely  to  the  right  size  to  do  exactly  the  -work 
that  the  chair  has  to  do  — neither  clumsy  and 
thick,  nor  "skinny"  and  weak  —  no  waste  of 
material  and  no  lack  of  strength.  And,  beyond 
that,  the  chair  may  have  been  made  by  a  man 
^vho  worked  out  in  it  his  sense  of  fine  shapes 
and  curves  and  proportions  — it  may  be,  actu- 

Hoiv  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design'?  Why  do  the  pace- 


How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  spe- 
cific face  of  type?  What  do  they  see  in  it?  Why 
is  it  so  superlatively  pleasant  to  their  eyes? 
Good  design  is  always  practical  design.  And 
what  they  see  in  a  good  type  design  is,  partly, 
its  excellent  practical  fitness  to  perform  its 
work.  It  has  a  "heft"  and  balance  in  all  of  its 
parts  just  right  for  its  size,  as  any  good  tool 
has.  Your  good  chair  has  all  of  its  parts  made 
nicely  to  the  right  size  to  do  exactly  the  work 
that  the  chair  has  to  do  — neither  clumsy  and 
thick,  nor  "skinny"  and  weak  — no  waste  of 
material  and  no  lack  of  strength.  And,  beyond 
that,  the  chair  may  have  been  made  by  a  man 

How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design}  Why  do  the  pace- 


8 

POINT 


\ 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTVVWXYZ(S 

abcdefghijklmnopqrstuvwxyz  1254567890($£,.:;'-'?!--t)  1234567890 
abcdefghijklmnopqrstuvwxyz  J  2345  67«90  ^$£,.:,-''-'.\'--t)  '  234567*90 


Matrir  Informalivn  :  8A380.  Length  of  lower  case  alphabet.  lOS  points. 
Will  run  in  90  channel  layout.  Cotle  word.  KETE. 


Comma,  period  and  thin  space.  .0311;  figures.  .0622. 


435 


Lmotype  GARAMOND  BOLD  ivitJj  Italic 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS 
lO  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRIN 

POINT  How^  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is 
al^vays  practical  design.  And  what  they  see  in  a  good  type  design  is,  partly,  its  ex- 
cellent practical  fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its 
parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts 
made  nicely  to  the  right  size  to  do  exactly  the  w^ork  that  the  chair  has  to  do  — 
neither  clumsy  and  thick,  nor  "skinny"  and  w^eak— no  waste  of  material  and  no 
lack  of  strength.  And,  beyond  that,  the  chair  may  have  been  made  by  a  man  w^ho 
w^orked  out  in  it  his  sense  of  fine  shapes  and  curves  and  proportions  — it  may  be, 
actually,  a  w^ork  of  art.  The  same  thing  holds  for  shapes  of  letters.  And  your  chair, 
or  your  letter  (if  a  true  artist  made  it)  w^ill  have,  besides  its  good  looks,  a  suitabil- 
ity to  the  Mth  degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That  explains,  in  a 
w^ay,  w^hy  the  experts  rave  over  the  fine  shapes  of  letters;  but  it  fails  to  explain 
wherein  the  shapes  are  fine.  If  you  seek  to  go  further  w^ith  the  inquiry,  theories  Avill 
be  your  only  ans^ver.  Here  is  a  theory  that  the  proponent  thinks  may  have  sense  in 
it:  Fine  type  letters  ^vere,  in  the  first  place,  copies  of  fine  w^ritten  letters.  Fine  w^rit- 

(tic.-'  I^niut  leaded) 


How^  is  one  to  assess  and  evaluate  a 
type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face 
of  type?  What  do  they  see  in  it?  Why 
is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  alw^ays  practical 
design.  And  what  they  see  in  a  good 
type  design  is,  partly,  its  excellent 
practical  fitness  to  perform  its  w^ork. 
It  has  a  "heft"  and  balance  in  all  of  its 
parts  just  right  for  its  size,  as  any  good 
tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to 
do  exactly  the  w^ork  that  the  chair  has 
to  do  — neither  clumsy  and  thick,  nor 
"skinny"  and  w^eak— no  -waste  of  ma- 

Hoiv  is  one  to  assess  and  evaluate  a 
type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the 


How  is  one  to  assess  and  evaluate  a 
type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face 
of  type?  What  do  they  see  in  it?  Why 
is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical 
design.  And  w^hat  they  see  in  a  good 
type  design  is,  partly,  its  excellent 
practical  fitness  to  perform  its  ^vork. 
It  has  a  "heft"  and  balance  in  all  of  its 
parts  just  right  for  its  size,  as  any  good 
tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to 
do  exactly  the  w^ork  that  the  chair  has 
to  do  — neither  clumsy  and  thick,  nor 

Hotv  is  one  to  assess  and  evaluate  a 
type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the 

(one  point  leaded  I 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPORSTUVWXYZ^ 

abcdefghijklmnopqrstuvwxyz  1 2  345  67890  ($£,.:;'-'?!'=t)  1234567890 
abcdefghijklmnopqrstuvtuxyz  1234567890  ($£,.:  ;'-'?!'-'''Y)  1234567*90 

Matiix  Information :  10A314.  Length  of  lower  case  alphabet.  135  points.  Comma,  period  and  thin  space,  .033;  figures.  .0761. 
Will  run  in  90  channel  layout.  Code  word.  KEUX. 


436 


POINT 


Linotype  GARAMOND  BOLD  tvitb  Italic 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN 
TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-M         l^ 

Hovv^  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic 
design?  Why  do  the  pace-makers  in  the  art  of  printing  rave  over 
a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superla- 
tively pleasant  to  their  eyes?  Good  design  is  always  practical  de- 
sign. And  w^hat  they  see  in  a  good  type  design  is,  partly,  its  excellent 
practical  fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in 
all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good 
chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly 
the  work  that  the  chair  has  to  do  — neither  clumsy  and  thick,  nor 
"skinny"  and  weak— no  w^aste  of  material  and  no  lack  of  strength. 
And,  beyond  that,  the  chair  may  have  been  made  by  a  man  who 
w^orked  out  in  it  his  sense  of  fine  shapes  and  curves  and  propor- 
tions—it may  be,  actually,  a  w^ork  of  art.  The  same  thing  holds  for 
shapes  of  letters.  And  your  chair,  or  your  letter  (if  a  true  artist 
made  it)  w^ill  have,  besides  its  good  looks,  a  suitability  to  the  wth 
degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That  explains,  in 
a  w^ay,  w^hy  the  experts  rave  over  the  fine  shapes  of  letters;  but  it 
fails  to  explain  wherein  the  shapes  are  fine.  If  you  seek  to  go  fur- 
ther w^ith  the  inquiry,  theories  w^ill  be  your  only  ans^ver.  Here  is  a 
theory  that  the  proponent  thinks  may  have  sense  in  it:  Fine  type 
letters  were,  in  the  first  place,  copies  of  fine  written  letters.  Fine 
w^ritten  letters  w^ere  fine  because  they  were  produced  in  the  most 
direct  and  simple  tvay  by  a  tool  in  the  hands  of  a  person  expert  in 
its  use  — by  a  person,  moreover,  who  w^as  an  artist  {i.e.,  a  person 
equipped  to  make  sound  judgments  about  lines,  curves,  propor- 
tions, etc. ) .  The  artist  of  that  moment  "when  printing  w^as  invented 
who  furnished  the  fine  w^ritten  patterns  for  type  w^as  (luckily  for 

Hotv  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  est  luetic 
design?  Why  do  tJye  pace-makers  in  the  art  of  printing  rave  over 
a  specific  face  of  type?  What  do  t/yey  see  in  it?  WJjy  is  it  so  snperla- 

it-vo  point  tnitlcdl 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&  ($£,.:;^-'?!=  f) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&  ($£,.:;'-'?! ■•■■f) 

1234567890  abcdefghijklmnopqrstuvwxyz  1234567890 

1234567 890  abcdefg/jijkhnnopqrstnvtvxyz  I2}4^6y890 

Maln.x  Injvrmaticn  I-'A-f-'^.  Icnmh  i.f  Icwi-r  i.i>.u  aliihaliet,  ](,')  pninls.  Icmima.  pericwl  ami  tliiii  vpaco.  ,U-lS-4;  Injures.  .O^S. 
Will  run  in  'JO  channel  la>n\il.  (  ude  word.  KKV'l. 


437 


POINT 


Linotype  GARAMOND  BOLD  ivith  Italic 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FA 
^4        CE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  T 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its 
esthetic  design?  Why  do  the  pace-makers  in  the  art  of  print- 
ing rave  over  a  specific  face  of  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design 
is  aWays  practical  design.  And  what  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fitness  to  perform  its 
work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right 
for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  exactly  the  w^ork  that 
the  chair  has  to  do— neither  clumsy  and  thick,  nor  "skinny" 
and  weak— no  waste  of  material  and  no  lack  of  strength. 
And,  beyond  that,  the  chair  may  have  been  made  by  a  man 
who  w^orked  out  in  it  his  sense  of  fine  shapes  and  curves  and 
proportions— it  may  be,  actually,  a  w^ork  of  art.  The  same 
thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  let- 
ter (if  a  true  artist  made  it)  will  have,  besides  its  good  looks, 
a  suitability  to  the  wth  degree  to  be  sat  in,  or  stamped  on 
paper  and  read.  That  explains,  in  a  way,  why  the  experts 
rave  over  the  fine  shapes  of  letters;  but  it  fails  to  explain 
w^herein  the  shapes  are  fine.  If  you  seek  to  go  further  w^ith  the 
inquiry,  theories  will  be  your  only  answ^er.  Here  is  a  theory 
that  the  proponent  thinks  may  have  sense  in  it:  Fine  type  let- 
Hotv  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its 
esthetic  design?  Why  do  the  pace-makers  in  the  art  of  print- 
ing rave  over  a  specific  face  of  type?  What  do  they  see  in  it? 


(two  point  leaded) 


ABCDEFGHIJKLMNOPQRSTUVWXYZ&  ($£,.:;*-'?!-  f) 

ABCDEFGHIJKLMNOPORSTUVWXYZ&  ($£,.:  ;^-'.^'-  f) 

1234567890  abcdefghijklmnopqrstuvw^xyz  1234567890 

1234567 890  abcdefghi]klmnopqrstuvtvxyz  i2}^'^6jS^o 

Matrix  Information:  14A164.  Length  of  lower  case  alphabet,  187  points.  Comma,  period  and  thin  space.  .0553;  figures,  .1107. 
Will  run  in  90  channel  layout.  Code  word,  KEWO. 


438 


Linotype  GARAMOND  BOLD 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  T 
YPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESI 

Ho^sv  is  one  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in 
the  art  of  printing  rave  over  a  specific  face  of  type? 
What  do  they  see  in  it?  Why  is  it  so  superlatively 
pleasant  to  their  eyes?  Good  design  is  always  prac- 
tical design.  And  what  they  see  in  a  good  type  design 
is,  partly,  its  excellent  practical  fitness  to  perform 
its  ^svork.  It  has  a  "heft"  and  balance  in  all  of  its  parts 
just  right  for  its  size,  as  any  good  tool  has.  Your  good 
chair  has  all  of  its  parts  made  nicely  to  the  right  size 
to  do  exactly  the  work  that  the  chair  has  to  do — 
neither  clumsy  and  thick,  nor  "skinny"  and  w^eak — 
no  w^aste  of  material  and  no  lack  of  strength.  And, 
beyond  that,  the  chair  may  have  been  made  by  a 
man  w^ho  w^orked  out  in  it  his  sense  of  fine  shapes 
and  curves  and  proportions — it  may  be,  actually,  a 
work  of  art.  The  same  thing  holds  for  shapes  of  let- 
ters. And  your  chair,  or  your  letter  (if  a  true  artist 
made  it)  w^ill  have,  besides  its  good  looks,  a  suita- 
bility to  the  nth  degree  to  be  sat  in,  or  stamped  on 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdef ghijklmnopqrstuvw^xyz  (  $,. :  ;^-' ? ! ) 
1234567890   1234567890 

Matrix  litlnrmatinn  :  \»£\277.  Length  of  lower  case  alphabet.  J19  points.  Comma,  perioil  and  thin  sli.ice.  Mi2:  tiKure  1.  .0968; 
2  to  0.  .1107.  Will  run  in  90  channel  layout.  16  point  alignment.  Code  word.  KEXU. 


i8 

POINT 


439 


Linotype  GARAMOND  BOLD 


24 

POINT 


30 

POINT 


How  is  one  to  assess  and  evaluate  a  t 
ype  face  in  terms  of  its  esthetic  desi 
gn?  Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  fa 
c  1234567890  1234567890  ($,.:;^-'?!) 

(jour  point  leaded) 

ABCDEFGHIJKLMNOPQRSTUV 
abcdef  ghi  j  klmnopqrstu  vwxyz 

Matrix  lixjormatioii :  24A235.  Length  of  lower  case  alphabet.  313  points.  Comma  and  period.  .083;  thin  space.  .0277;  figure  1, 
.1383;  2  to  0.  .166.  Will  run  in  Display  Linotypes.  72  channel  layout;  also  in  34  cliannel  auxiliary  magazine.  22  point  align- 
ment. Codeword.  KEYR. 


-(-    LINOTYPE-    > 


How  is  one  to  assess  and  evaluate 
a  type  face  in  terms  of  its  esthet 
ic  design?  Why  do  the  pace-mak 
ers  in  1 1234567890 1234567890 


(four  point  leaded) 


ABCDEFGHIJKLMNOPQRS 

TUVWXYZ&  ($,.:;*-'?!) 
abcdef  ghi  j  klmnopqrs  tuv  wxy  z 

Matrix  Infonnation:  30A1"3.  Length  of  lower  case  alphabet,  355  points.  Comma  and  period.  .0968;  thin  space,  .0277;  figure  1, 
.166;  2  to  0,  .1937.  Will  run  in  Wide  72  channel  magazine;  also  lower  case  in  cap  channels  72  channel  magazine,  with  caps  and 
figures  in  Wide  34  channel  auxiliary  magazine.  28  point  alignment.  Code  word,  KEYZ. 


440 


Linotype  GARAMOND  BOLD 

How^  is  one  to  assess  and   36 


evaluate  a  type  face  in  t 
erms  of  its  esthetic  desig 
n?  Why  do  the  pace-ma 
kers  in  the  art  of  printi 
ng  rave  over  a  specific  fa 
ce  of  type?  What  do  the 
ysee  in  it?  Wh  ($,.:;*-'?!) 


POINT 


(f.iirr  ;.,iiii(  l,;}J,JI 


ABCDEFGHIJKLMN 
OPQRSTUVWXYZ& 

abcdef  ghi  j  klmnopqrst 
I23456789O1234567890 

Millri.v  hijormol'u'n  .i(.A''7.  l.cnKlli  (if  louiT  ..isc  .ilph.iljct.  A7i)  ii.iiiiU.  ('..iiini.i  anil  lu-iiorl.  .1J4^;  thin  sp.ice.  .0.'77  :  figure  1. 
.iy.37;  2  to  0.  .J-4'<.  Will  inn  in  Wulc  ,i-l  .  liannul  anxiliai  y  niaija/inL- :  alsii  lower  i  .isc  in  laii  iliannols  of  Wide  "J  dianncl  maga- 
zine. .!-(  poinl  aliKnnient.  Co.l,-  uoiil.   K1':ZV. 


441 


i8 

POINT 


Linotype  GARAMOND  BOLD  ITALIC 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  T 
YPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESI 

Hotv  is  one  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-vtakers  in 
the  art  of  printing  rave  over  a  specific  face  of  type} 
What  do  they  see  in  it}  Why  is  it  so  superlatively 
pleasant  to  their  eyes}  Good  design  is  altvays  prac- 
tical design.  And  tvhat  they  see  in  a  good  type  design 
is,  partly,  its  excellent  practical  fitness  to  perform 
its  tvork.  It  has  a  ^^heft  ^^and  balance  in  all  of  its  parts 
just  right  for  its  size,  as  any  good  tool  has.  Your  good 
chair  has  all  of  its  parts  made  nicely  to  the  right  size 
to  do  exactly  the  ivork  that  the  chair  has  to  do — 
neither  clumsy  and  thick,  nor  ^^ skinny"  and  tueak — 
no  tvaste  of  Ttiaterial  and  no  lack  of  strength.  And, 
beyond  that,  the  chair  may  have  been  m^ade  by  a 
man  tvho  tvorked  out  in  it  his  sense  of  fine  shapes 
and  curves  and  proportions — it  may  be,  actually,  a 
tvork  of  art.  The  sam.e  thing  holds  for  shapes  of  let- 
ters. And  your  chair,  or  your  letter  (if  a  true  artist 
Tnade  it)  tvill  have,  besides  its  good  looks,  a  suita- 
bility to  the  nth  degree  to  be  sat  in,  or  stam^ped  on 


(two  point  leaded  I 


ABCDEFGHIJKLMNOPQRSTUVWXYZ^ 

abcdef  ghijklmnopqrstuvtvxyz  ($,, :  ;^-'} ! ) 
1234567890  i234^6j89o 

Matrix  Information :  18A279.  Length  of  lower  case  alphabet,  2\9  points.  Comma,  period  and  thin  space,  .0553;  figure  1,  .0968; 
2  to  0,  .1107.  Will  run  in  90  channel  layout.  16  point  alignment.  Code  word,  KIAM. 


442 


Linotype  GARAMOND  BOLD  ITALIC 

How  is  one  to  assess  and  evaluate  a  t 
ype  face  in  terms  of  its  esthetic  desi 
gn?  Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  fa 
c  1234567890  1234^67890  ($,.:;'-'?!) 


I  icui   f"'<'l  IraJiJ) 


ABCDEFGHIJKLMNOPQRSTUV 

abcdefghijklmnopqrstMVWxyz 

Matrix  Inlormaliuit :  2-)A-.57.  Length  of  knver  case  aliilialiet.  312  points.  Comma  anil  pcrioj,  .0X1;  thin  space.  .(1J77;  fiKure  I, 
.1383;  2  to  0,  .166.  Will  run  in  72  channel  layout;  also  in  Wide  34  channel  au.tiliary  magazine.  22  point  aliRument.  Code  word. 
KIBY. 


-("LINOTYPE"   >- 


How  is  one  to  assess  and  evaluate 
a  type  face  in  terms  of  its  esthet 
ic  design?  Why  do  the  pace-mak 
ers  in  1 1234567890 1234^67890 


(f.nir  /-,-;»/  l,;uh;l) 


ABCDEFGHIJKLMNOPQRS 

TUVWXYZ&  ($,.:;'-'?!) 
abcdef ghijklmnopqrstMvwxyz 

Matrix  Information:  3()A17S.  Lcimth  ot  lower  case  alphabet,  .l.=^K  points,  (\innna  aiui  ihtlu!,  .iYHS.\  thin  spa.c  .OJ77:  ti«uir  1. 
-Kifj;  Z  to  0.  .19.17.  Will  run  in  Wide  72  channel  inaKa/iiic;  also  lower  case  in  cap  thaiineU  11  channel  inai;a/iiie.  with  caps  and 
figures  in  Wide  M  channel  auxiliary  inaRa/inc.  28  point  alignment.  Code  word.  KIEN. 


^4 

POINT 


30 
POINT 


443 


SPECIMENS  OF 

LINOTYPE 

GARAMOND 


4 

C»..i LINOTYPE  "O 


Tomorrow 


and  the  need  it  tvill  bring  you  for 
a  hank,  reserve 


/iSSi^ 


/SSS..5) 


Advancing  age  brings  with  it  a 
variety  of  problems  to  which  ready 
money  is  the  only  solution.  Decreased 
income  is  one.  Impaired  health  is  fre- 
quently another.  A  general  desire  to 
"ease  off"  from  the  rigors  of  business 
...  to  rest  and  to  travel,  is  another. 
Peculiarly,  when  the  need  of  a  thrift 
account  is  greatest,  the  ability  to 
build  it  up  is  most  difficult.  The  log- 
ical time  is  to  start  NOW!  Open  a 
Madison  Bank  and  Trust  Company 
thrift  account  today \  Add  to  it  regu- 
larly from  each  week's  pay.  Com- 
pound interest  will  constantly  swell 
the  total.  Branch  offices  conveniently 
located  about  town. 

Madison  Bank  &  Trust 
Company  •  Brooklyn 


PHOTOGRAPHY 


^K-^*  As  A  THRILLING  pastime, 
''^^'  photography  ranks  second  to 
no  other  hobby.  Unlike  the  others, 
however,  its  fascination  does  not  de- 
pend completely  upon  expertness. 
Fun  starts  with  the  first  roll  of  film  in 
the  simplest  box  camera.  Yet  photo- 
graphic possibilities  are  so  limitless 
that  a  lifetime  of  application  will  not 
exhaust  them. 

From  the  first  click  of  the  shutter, 
amateur  photography  gives  to  every- 
one a  means  of  artistic  self-expression, 
an  ability  to  create  something  new, 
and  an  opportunity  to  make  a  perma- 
nent record  of  actions,  people,  places 


Tailored 

SHIRTS 

The  most  comprehensive 
collection  of  fine  shirts 
we  have  ever  offered  .  .  . 
they  are  unmatchable  at 

$1.95 


upper  right:  Catalog  page,  set  in  12  and  24  point  Garamond.  Deco- 
ration: 18  point  Border  Matrix  No.  G-18. 

Below:  Display  tag,  set  in  11  point  Garamond,  24  point  Garamond 
Italic  and  30  point  Garamond  Bold.  Decoration:  12  point  Border 
Matrices  Nos.  G-50R  and  G-SOL. 

Lejt:  Envelope  enclosure,  set  in  14,  24  and  30  point  Garamond,  and 
IS  point  Garamond  Italic.  Decoration:  6  point  Border  Matrix  No. 
G-35R. 


GRANJON 


^ 


t^ 


jBHCEIEHaa^y 


Linotype  Granjon  was  designed  by  George  W  Jones,  one  of  Eng- 
land's great  printers,  to  meet  his  own  exacting  requirements  for  fine 
book  and  publication  work.  The  Fleiiron  termed  it  "A  book  face 
worthy  to  rank  with  Caslon  for  usefulness,  with  Centaur  for  beauty, 
sharp  enough  for  publicity,  clear  enough  for  a  dictionary'.' 

Like  most  useful  types,  Granjon  is  neither  wholly  new  nor  wholly 
old.  It  is  not  a  copy  of  a  classic  face  nor  an  original  creation,  but 
rather  something  between  the  two— drawing  its  basic  design  from 
classic  Garamond  sources,  but  never  hesitating  to  deviate  from  the 
model  where  four  centuries  of  type-cutting  experience  indicate  an 
improvement  or  where  modern  methods  of  punch-cutting  make 
possible  a  refinement  far  beyond  the  skill  of  the  originator. 

Granjon  is  available  in  a  complete  range  of  sixteen  point  sizes,  6 
to  72  point:  In  two-letter  matrices,  with  Italic  and  Small  Caps,  6  to 
14  point  inclusive;  and  also  in  18  and  21  point  roman,  and  18  point 
italic.  On  the  All-Purpose  Linotype  in  eight  sizes,  18  to  72  point, 
with  Italic  from  18  to  48  point.  Granjon  with  Granjon  Bold  is  avail- 
able in  six  useful  sizes,  6  to  14  point  inclusive.  Each  is  shown  in 
comprehensive  form  on  the  following  pages. 

Mergenthaler  Linotype  Company,  Brooklyn,  N.  Y. 

NEW  YORK  CITY,  CHICAGO,  SAN  FRANCISCO,  NEW  ORLEANS.  CANADIAN  LINOTYPE, 
LIMITED,    TORONTO.    REPRESENTATIVES    IN    THE    PRINCIPAL    CITIES    OF    THE    WORLD 


LIST   OF   CHARACTERS    IN   TWO-LETTER    FONTS 
WITH    ITALIC   AND   SMALL   CAPS 

ABCDEFGHI JKLMNOPQRSTU  V  WXYZ 
ABCDEFGHIJKLMNOPQRSTUVWXYZ 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

12345      abcdefghijklmnopqrstuvwxyz      67890 
VBCDE      abcdefghijkjmjiopqrstuvwxyz      fgrtj 

,.:;?!(|)*"--^(Eft&/;$  fiflfTffiffl 

, .  s ;  ?  /  A  I  Q  o  '  '  —  /E  GE  ft  ]<i  £  p  L  fi  y  ff  w  m 

12345        Z&:()""QyQuaftflffiffl$a:oe       67890 
1234s       Z&:  (  )"  "  ^  ^aHflffiffl$ceoc       67890 


SWASH    CHARACTERS 

^'BCVeQJ%£JllKPT{rVYO' 


LONG    DESCENDERS 


g  )  p  q  y 


Made  in  All  Point  Sizes  and  Supplied  on  Special  Order         These  characters  may  be  substituted  for  those  regularly  furnished 

witli  a  font,  if  so  ordered,  or  they  may  be  added  as  an  extra 

MODERNIZED    FIGURES 

1234567890       1234567890 

Made  only  in  6,  8,  9,  10,  11.  12  and  14  point  Granjon  with  Italic  and  Stnall  Caps.  These  figures  will  be  substituted 
lor  those  regularly  furnished  with  a  font,  if  so  ordered,  or  they  may  be  added  as  an  extra 


TWO-LETTER    LOGOTYPES 

F.  E  Ta  Te  To  Tr  Tu  Tw  Ty  T  Va  Ve  Vo  V.  Wa  We  Wo  Wr  W  Ya  Ye  Yo  Y 
E  RTaTe  To  Tr  Tu  Tiu  Ty  T  Va  Ve  Vo  V.  Wa  We  Wo  Wr  W  Ya  Ye  Yo  Y. 

fa  fe  fo  fr  fs  ft  fu  fy  ffa  fFe  ffo  ffr  ffs  ffu  ffy  f,  f  f-  ff,  ff  ff-  f  ff 
fa  fe  fo  fr  fs  ft  fu  fy  ffa  fe  fo  ffi  f  fu  fy  f,  f.  f  f  f  f  f  ff 

ONE-LETTER    ITALIC    LOGOTYPES 

FA  PA  TA  VA  WA  YA  Th  Wh 


-{      LINOTYPE    0- 


^  And  on  the  A-P-L,  a  complete  range  of  sizes  from  18/0 
72  point,  inclusive,  in  Granjon.  The  A-P-L  italic  is  avail- 
able from  18  through  ^'^  point. 

mmmmmmMM 


18  24  30  36 


446 


Comparison  of  Sizes,  Granjon  with  Italic 

r,  Point   l/,&^72)  I.., WIT  .:iM-  :illih:il)Cl.  H]   p,.iiits.   FiKurcs.  .(I-41? 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TVl'E  FACE  IN  TERMS  (JH  ITS  ESTIIETU;  DESIGN?  WHY  DO  THE  PACE-MAK 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of  printing  rav  i2-t-i 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  tlesifin?  Why  do  the  paee-niuf^ers  in  the  art  of  printing  r  vbcd 

S  Point  (SAISC.)  I..iucr  casf  alphalict.  ')H  points.  FiEurcs.  .n^=;3 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN' 

How  is  one  to  assess  ami  evaluate  a  type  face  in  terms  of  its  esthetic  (iesijjn?  Why  do  the  ixice-iiiakers  in  th  1234 
HOW  IS  ONE  to  assess  arid  cvahtalc  a  type  jacc  in  Icinis  of  its  esthetic  tlcsign?  ll'/iy  do  the  pacc-ma/^crs  in  VBcu 

1  Point  CJAHJI  Lower  rase  alphabet,  lOS  p-.ints.  Figurr-v.  ,0^6 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  tlie  pace-m  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pa  vbcd 

11)  Point  (IdA.llxi  Lower  case  alphabet.  117  points.  Figures.  .nr,22 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ES 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design.'  Why  do  the  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  vbcd 

n   Point  (IlAlf'-l  Lower  case  alphabet,  IJ'j  points.  Figures.  .nr,22 

HOW  IS  ONE  TO  ASSESS  y\ND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF 

How  is  one  to  asses.s  and  evaluate  a  type  face  in  terms  of  its  esthetic  design.^  Why  d  12^4 
HOW  IS  ONE  to  assess  and  eualitate  a  type  face  in  terms  of  its  esthetic  desig  Why  vbcd 

I-'  Point  (IJA-'yH)  Lower  case  alphabet.  137  points.  Figures,  .ni,'i_' 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  ?  1234 
HO  W  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  desig  vbcd 

14  Point  (NA17(il  Lower  case  alphabet,  153  points.  Figures.  .().S3 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  d  1 234 
HO  W  IS  ONE  to  assess  and  evahtate  a  type  face  in  terms  of  its  esth  vbcd 

l.S  Point   (1,SA3I11)  L..«.-i   i.isf  alph.ibet.  ISO  points.  Fmure  1.  .0(j9J:2ton.  .11(17 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  es- 
thetic design?  Why  do  the  pace-makers  in  the  art  of  prin  1234 


Jl   Point   ClAP'l 


Lower  case  alphabet,  lor,  points.  Figure  1.  .0S3;  2  to  n.  .Iin7 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of 
its  esthetic  design?  Why  do  the  pace-makers  in  the  a  1234 

IR  Point   (l.SAlli.il  Lower  ease  .ilphabet.   177  points    Fii;nrcl.    'l.sM  ;  2  to  n.    II07 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  F 

How  IS  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  12^^ 


AA7 


Comparison  of  Sizes,  Gran j on  with  Bold 

6  Point  (6A306)  Lower  case  alphabet.  81  points.  Figures.  .0415 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TER.MS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAK 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of  printing  rav  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN.-  WHY  DO  THE  PACE-MAK 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design.'  Why  do  the  pace-makers  in  the  art  of  printing  rav  1234 

8  Point  (8A418)  Lower  case  alphabet.  98  points.  Figures.  .0553 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN.? 
How  is  one  to  assess  and  evaluate  a  tvpe  face  in  terms  of  Us  esthetic  desisn?  Wiiy  do  the  pace-mai<.ers  in  th  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN? 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  th  1234 


10  Point  (10A3761 


Lower  case  alphabet.  117  points.  Figures,  .0622 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ES 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design.''  Why  do  the  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ES 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  1234 


11  Point  (11A114I 


Lower  case  alphaljet,  126  points.  Figures,  .0622 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design .''  Why  d  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  ?  Why  d  1234 


12  Point  (12A31t 


alphabet.  137  points.  Figures.  .0692 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  ?  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  1234 


14  Point  (1-1APJ2) 


Lower  case  alphabet,  153  points.  Figures.  .083 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  d  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  d  1234 


-(      LINOTYPE     > 


LIST   OF   CHARACTERS    IN    TWO-LETTER    FONTS 
WITH    ROMAN    AND    BOLD 

ABCDEFGHIJKLMNOPQRSTUVWXYZ 
ABCDEFGHIJKLMNOPQRSTUVWXYZ 

12345      abcdefghijklmnopqrstuvwxyz      67890 
12345      abcdefghijklmnopqrstuvwxyz      67890 


)  *  "  .  _  ^  CE  lb  &  £  $ 


fi  fl  ff  ffi  ffl  cT  oe 
fiflff  ffifflxoe 


%'A 


ViVi 


y.%ns^-[] 


i  34  %  Vi  %  %  %%  t1:§f  -  [] 


448 


Six  Point  Granjon  with  Granjon  Bold 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAK 
IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  OF  TYPE?  WHAT  DO  THEY  SEE  IN  117  WHY  IS  IT  SO  SUPERL 


How  is  one  to  assess  .ind  evaluate  a  type  face  in  terms  of  its  es- 
thetic design?  Why  do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  type?  What  do  they  sec  in  it?  Why  is 
it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always 
practical  design.  And  what  they  see  in  a  good  type  design  is, 
partly,  us  excellent  practical  fitness  to  perform  us  work.  Ii  has 
a  "heft"  and  balance  in  all  of  its  parts  just  right  for  Us  size,  as 
any  good  tool  has.  Yuur  good  chair  has  all  of  its  parts  made 
nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has 
to  do,  neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no 
waste  of  material  and  no  lack  of  strength.  And,  beyond  that, 
the  chair  may  have  been  made  by  a  man  who  worked  out  in  u 
his  sense  of  fine  shapes  and  curves  and  proportions:  it  may  be, 
actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of  lei- 
tcrs.  And  your  chair,  or  your  letter  {if  a  true  artist  made  it) 
will  have,  besides  its  good  looks,  a  suitability  to  the  nth  degree 
to  be  sat  in,  or  stamped  on  paper  and  read.  That  explains,  in  a 
way,  why  the  experts  rave  over  the  fine  shapes  of  letters;  but  it 
fails  to  explain  wherein  the  shapes  are  fine.  If  you  seek  to  go 
further  with  the  inquiry,  theories  will  be  your  only  answer. 
Here  is  a  theory  that  the  proponent  thinks  may  have  sense  in  it: 
Fine  type  letters  were,  in  the  first  place,  copies  of  fine  written 
letters.  Fine  written  letters  were  fine  because  they  were  pro- 
duced in  the  most  direct  and  simple  way  by  a  tool  in  the  hands 
of  a  person  expert  in  its  use,  by  a  person,  moreover,  who  was  an 
artist,  i.e.,  a  person  etiuipped  to  make  sound  judgments  about 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  es- 
thetic design?  Why  do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  tvpe?  What  do  they  see  in  it?  Why  is 
'(solid) 


How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  es- 
thetic design?  Why  do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is 
it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always 
practical  design.  And  what  ihey  see  in  a  good  type  design  is, 
partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has 
a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  si-^c,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its  iiarts  made 
nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has 
to  do,  neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no 
waste  of  material  and  no  lack  of  strength.  And,  beyond  that, 
the  chair  may  have  been  made  by  a  man  who  worked  out  in  it 
his  sense  of  fine  shapes  and  curves  and  proportions:  it  may  be, 
actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of  let- 
ters. And  your  chair,  or  your  letter  (if  a  true  artist  made  it) 
will  have,  besides  its  good  looks,  a  suitability  to  the  nth  degree 
to  be  sat  in,  or  stamped  on  paper  and  read.  That  explains,  in  a 
way,  why  the  experts  rave  over  the  fine  shapes  of  letters;  but  it 
fails  to  explain  wherein  the  shapes  are  fine.  If  you  seek  to  go 
further  with  the  inquiry,  theories  will  be  your  only  answer. 
Here  is  a  theory  that  the  proponent  thinks  may  have  sense  in  it: 
Fine  type  letters  were,  in  the  first  place,  copies  of  fine  written 
letters.  Fine  written  letters  were  fine  because  ihey  were  pro- 
duced in  the  most  direct  and  simple  way  by  a  tool  in  the  hands 
of  a  person  expert  in  its  use.  by  a  person,  moreover,  who  was  an 


Matrix  lujoi Diatid 
(Ii.'inncl  nin'-;;i/iiie. 


(one  p.'inf  leaded) 
ABCnFFGHnKLMKOPQRSTUVWXY7& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&c 

abcdefghiiklmnopqrstuvwxyzfiflfTffim  ($/,.: ;"-'' '*tt^1[)  12^4S678<5n 
abcdefghijklmnopqrstuvwxyzfiflffffiffl  ($£,.:;'-'?! *tl§t[)  1234567890 

fil\?,QG.  Lower  case  alphabet.  81  points.  Figures.  .0415;  co 
de  word.  ZAIIIM. 


period  and  thin  space,  .0277.  Kuns  in  90 


Eight  Point  Granjon  with  Granjon  Bold 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN? 
WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  OF  TYP 


How  is  one  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant 
to  their  eyes?  Good  design  is  always  practical  design. 
And  what  they  sec  in  a  good  type  design  is,  partly,  its 
excellent  practical  fitness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good  chair  has  all  of 
its  parts  made  nicely  to  the  right  size  to  do  exactly  the 
work  that  the  chair  has  to  do,  neither  clumsy  and 
thick,  nor  "skinny"  and  weak,  no  waste  of  material 
and  no  lack  of  strength.  And,  beyond  that,  the  chair 
may  have  been  made  by  a  man  who  worked  out  in  it 
his  sense  of  fine  shapes  and  curves  and  proportions:  it 
may  be,  actually,  a  work  of  art.  The  same  thing  hokls 
for  shapes  of  letters.  And  your  chair,  or  your  letter  (if 
a  true  artist  made  it)  will  have,  besides  its  good  looks. 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  of  type?  What 
( iuHd) 


How  is  one  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  of  type?  What 
do  they  sec  in  it?  Why  is  it  so  superlatively  plea.sant 
to  their  eyes?  Good  design  is  always  practical  design. 
And  what  diey  .see  in  a  good  type  design  is,  partly,  its 
excellent  practical  fitness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good  chair  has  all  of 
its  ]iarts  made  nicely  to  the  right  size  to  do  exacdy  the 
work  that  the  chair  has  to  do,  neither  clumsy  and 
thick,  nor  "skinny"  and  weak,  no  waste  of  material 
and  no  lack  of  strengdi.  And,  beyond  diat,  the  chair 
may  have  been  made  by  a  man  who  worked  out  in  it 
his  sense  of  fine  shapes  and  curves  and  proportions:  it 
may  be,  actually,  a  work  of  art.  The  same  diing  holds 
for  shapes  of  letters.  And  your  chair,  or  your  letter  (if 
a  true  artist  made  it)  will  have,  besides  its  good  looks, 
a  suitability  to  the  nth  degree  to  be  sat  in,  or  st.impcd 


[•uint  h-advd) 

ABCDEFGIIIIKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdcfghiiklmnopqrstuvwxvzfinfTfnm  (S /,.:;'-' ?!*tl§<!)  1234567800 
abcdefghijklmnopqrstuvwxyzfiflffffiffl  ($£,.:;'-'? !*t+§11)  1234567890 


Matrix  Inlormation  :  SA-llS.  Lower  case  alphahet.  ns  iiuints 
channel  magazine.  Code  word.  ZURE. 


iia.  peri. id  ancl  tliin  space.  .0277.  Kuns  in  90 


449 


Ten  Point  Granjon  with  Granjon  Bold 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ES 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is 
it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  practical  design.  And  what 
they  see  in  a  good  type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its  work.  It 
has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good 
chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has 
to  do,  neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of  material  and  no  lack  of 
strength.  And,  beyond  that,  the  chair  may  have  been  made  by  a  man  who  worked  out  in  it  his 
sense  of  fine  shapes  and  curves  and  proportions:  it  may  be,  actually,  a  work  of  art.  The  same 
thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  letter  (if  a  true  artist  made  it)  will 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is 
it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  practical  design.  And  what 

(two  foint  leaded) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflffffiffl  ($;Cv:;'-'?  \*n^V>  1234567890 
abcdefghijklmnopqrstuvwxyzfiflflffiffl  ($2v:;'-'?!*t+§1)  1234567890 

Matrix  Information  :  10A37(').  Lower  case  alphabet.  117  points.  Figures,  .0622;  comma,  period  and  thin  space.  .0311.  Runs  in  90 
channel  magazine.  Code  word,  ZABAK. 

Eleven  Point  Granjon  with  Granjon  Bold 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  ?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type .''  What  do  they  see  in 
it.'  Why  is  it  so  superlatively  pleasant  to  their  eyes.''  Good  design  is  always  practical  de- 
sign. And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent  practical  fitness  to 
perform  its  work.  It  has  a  "heft" and  balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  al!  of  its  parts  made  nicely  to  the  right  size  to  do 
exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and 
weak,  no  waste  of  material  and  no  lack  of  strength.  And,  beyond  that,  the  chair  may 
have  been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and  curves  and 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  ?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in 
it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  practical  de- 

(tii'O  point  leaded) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflffffifB  ($;{:,. :;'-'?!*tt§^)  1234567890 
abcdefghijklmnopqrstuvwxyzfiflflffiffl  ($£,.:;'-'?!*U§f)  1234567890 

Matrix  Information:  11A114.  Lower  case  alphabet,  126  points.  Figures,  .0622;  comma,  period  and  thin  space,  .0311.  Runs  in  90 
channel  magazine.  Code  word.  ZABAR. 


450 


Twelve  Point  Gnmjon  with  Granjon  Bold 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  ?  Why 
do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type  ?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes.-^  Good  design 
is  always  practical  design.  And  what  they  see  in  a  good  type  design  is,  partly,  its 
excellent  practical  fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of 
its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do, 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design 


(l7t;i  t'ciint  leaded) 


ABCDEFGHI JKLMNOPQRSTU  V  WXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfifllTffiffl  ($/",.:;'-'. ?!*t+*^^)  1234567890 
abcdefghijklmnopqrstuvwxyzfiflflffiffl  ($£,.: ;'-'?!*tt§11)  1234567890 

Matiix  hiforiiuition  :  IJA-^U'-  l.<nver  (ase  alph.'iljet.  Io7  pMints.  FiKurcs.  .0(>92;  coninia.  period  and  thin  space.  .0,U^.  Kuiis  in  90 
tliamiel  maga/nie.  Code  wiird.  ZABBI. 

Fourteen  Point  Granjon  with  Granjon  Bold 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  de- 
sign .f'  Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific 
face  of  type.?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to 
their  eyes?  Good  design  is  always  practical  design.  And  what  they  see  in 
a  good  type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its 
work.  It  has  a  "heft"  and  balaiice  in  all  of  its  parts  just  right  for  its  size,  as 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to 

(tJVO  f-oini  l.adi-d) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghiiklmnopqrstuvwxyzfiflfTf?lfH($;{;,.: ;'-'?  !*n§^)  1234567890 
abcdefghijklmnopqrstuvwxyzfiflfTflfiffl  ($2v :;'-'?  J *n§1l)  1234567890 

Miilnr  Inforwafuni :  UA1''3.  Lower  case  alphabet.  15.^  points.  Figures.  .0S3;  coninia.  perind  and  thin  space.  .0415.  Runs  in  90 
channel  niayit/inc.  ("ode  wurd.  ZABCO. 


451 


Six  Point  Granjon 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN^  WHY  DO  THE  PACE-MAK 
IN  THE  AKT  OF  PRINTING  KAVE  OVER  A  SPECIFIC  FACE  OF  TYPE?  WHAT  DO  THEY  SEE  IN  IT^  WHY  IS  IT  SO  SUPERL 


How  IS  ONF  to  nsscss  and  evaluate  a  type  face  in  terms  of  its  es- 
thetic design?  Why  do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  type^  What  do  they  see  in  it'  Why  is 
it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always 
practical  design.  And  what  they  see  in  a  good  type  design  is, 
partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has 
a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its  parts  m.ide 
nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has 
to  do,  neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no 
waste  of  material  and  no  lack  of  strength.  And,  beyond  that, 
the  chair  may  have  been  made  by  a  man  who  worked  out  in  it 
his  sense  of  fine  shapes  and  curves  and  proportions:  it  may  be, 
actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of  let- 
ters. And  your  chair,  or  your  letter  (if  a  true  artist  made  it) 
will  have,  besides  its  good  looks,  a  suitability  to  the  nth  degree 
to  be  sat  in,  or  stamped  on  paper  and  read.  That  explains,  in  a 
way,  why  the  experts  rave  over  the  fine  shapes  of  letters;  but  it 
fails  to  explain  wherein  the  shapes  arc  fine.  If  you  seek  to  go 
further  with  the  inquiry,  theories  will  be  your  only  answer. 
Here  is  a  theory  that  the  proponent  thinks  may  have  sense  in  it: 
Fine  type  letters  were,  in  the  first  place,  copies  of  fine  written 
letters.  Fine  written  letters  were  fine  because  they  were  pro- 
duced in  the  most  direct  and  simple  way  by  a  tool  in  the  hands 
of  a  person  expert  in  its  use.  by  a  person,  moreover,  who  was  an 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  es- 
thetic design?  Why  do  the  pace-waf^ers  in  the  art  of  printing 
rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is 
(solid) 


How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  es- 
thetic design?  Why  do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is 
it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always 
practical  design.  And  what  they  see  in  a  good  type  design  is, 
partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has 
a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made 
nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has 
to  do,  neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no 
waste  of  material  and  no  lack  of  strength.  And,  beyond  that, 
the  chair  may  have  been  made  by  a  man  who  worked  out  in  it 
his  sense  of  fine  shapes  and  curves  and  proportions:  it  may  be, 
actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of  let- 
ters. And  your  chair,  or  your  letter  (if  a  true  artist  made  it) 
will  have,  besides  its  good  looks,  a  suitability  to  the  nth  degree 
to  be  sat  in,  or  stamped  on  paper  and  read.  That  explains,  in  a 
way,  why  the  experts  rave  over  the  fine  shapes  of  letters;  but  it 
fails  to  explain  wherein  the  shapes  are  fine.  If  you  seek  to  go 
further  with  the  inquiry,  theories  will  be  your  only  answer. 
Here  is  a  theory  that  the  proponent  thinks  may  have  sense  in  it; 
Fine  type  letters  were,  in  the  first  place,  copies  of  fine  written 
letters.  Fine  written  letters  were  fine  because  they  were  pro- 
duced in  the  most  direct  and  simple  way  by  a  tool  in  the  hands 
(one  point  leaded) 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIIKLMNOPORSTUVWXYZ& 

ABCDttGHIJKLMNOPQRSTUVWXVZfit 

abcdefghijkimnopqrstuvwxyzfififff^m  1234567890  (S/. .:;'-'?  !»t:§11)  1234567890 
abcdefghijlilwnopqrsiuvwxyzfifigffiffl  1234507890  ($£,.:;'-'?!  niV  1234567890 

Matrix  Information  :  6A372.  Lower  case  alphabet,  81  points.  Ficures.  .0415:  comtna,  period  and  thin  space.  .0277.  Runs  in  90 
channel  matjazine.  Code  word,  ZOID. 


Eight  Point  Granjon 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN? 
WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  OF  TYP 


How  IS  OME  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant 
to  their  eyes?  Good  desigti  is  always  practical  design. 
And  what  they  sec  in  a  good  type  design  is,  partly,  its 
excellent  practical  fitness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good  chair  has  all  ot 
its  parts  made  nicely  to  the  right  size  to  do  exactly  the 
work  that  the  chair  has  to  do,  neither  clumsy  and 
thick,  nor  "skinny"  and  weak,  no  waste  of  material 
and  no  lack  of  strength.  And,  beyond  that,  the  chair 
may  have  been  made  by  a  man  who  worked  out  in  it 
his  sense  of  fine  shapes  and  curves  and  proportions:  it 
may  be,  actually,  a  work  of  art.  The  same  thing  holtls 
for  shapes  of  letters.  And  your  chair,  or  your  letter  (if 
How  is  one  to  assess  and  evahiate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-mal{crs  in  the 
art  of  printing  rave  over  a  specific  face  of  type?  M'hat 
(solid) 


How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant 
to  their  eyes?  Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design  is,  pardy,  its 
excellent  practical  fitness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good  chair  has  all  of 
its  parts  made  nicely  to  the  right  size  to  do  exactly  the 
work  that  the  chair  has  to  do,  neither  clumsy  and 
thick,  nor  "skinny"  and  weak,  no  waste  of  material 
and  no  lack  of  strength.  And,  beyond  that,  the  chair 
may  have  been  made  by  a  man  who  worked  out  in  it 
his  sense  of  fine  shapes  and  curves  and  proportions:  it 
(one  point  leaded) 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pacc-ma     g  j  P  q  y 

i  set  witli  long  descenders,  on  nine  point  body) 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ABCDEFGHlfKLMNOPORSTUVWXyZ& 

ABCDEFCHIJKLMXOPQRSTUVWXYZ81 

abcdcfghijklmnopqrstuvwxyzfiflffffiffl  1234567890  ($;{;  ,.:;'-'?!*tt§fl)  1234567890 

abcdejghtjlilmnopqrstttvwxyzfiflffffiffl  1234567890  ($£,.:;'■'?!  +t§1l)  1234567890 

Matrix  Information:  8A386.  Lower  case  alphabet.  98  points.  Figures.  .0553;  comma,  period  and  thin  space,  .0277.  Runs  in  90 

channel  magazine   Code  word,  ZEBA. 


452 


Nine  Point  Granjon 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC 
DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPE 


How  IS  ONE  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Wliy  do  the  pace- 
makers in  the  art  of  printing  ra\e  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  design 
is  alti'ciys  practicid  design.  And  what  they  see  in 
a  good  type  design  is,  partly,  its  excellent  practi- 
cal fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  exactly 
the  work  that  the  chair  has  to  do,  neither  clumsy 
and  thick,  nor  "skinny"  and  weak,  no  waste  of 

How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
inal(ers  m  the  art  of  printing  rare  over  a  specific 

(solid) 


How  IS  ONE  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  design 
is  always  practical  design.  And  what  they  see  in 
a  good  type  design  is,  partly,  its  excellent  practi- 
cal fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  "^'our  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  exactly 
the  work  that  the  chair  has  to  do,  neither  clumsy 

/  one  point  leaded  I 

How  is  one  to  assess  and  evaluate  a  tvpe  face  in 
terms  of  its  esthetic  design?  Why  do  t     j  g  p  ']  y 

(set  ivith  long  dcscondcrs.  on  eleven  point  body  I 


ABCDEFGHIIKLMNOP0RSTUVWXYZ& 
.4BCDEFGHIJKLMN0P0RSTUVIVXYZ&- 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflffffiffl  1234567890  ($/,.:;'-'?!*t:?i51)  i2345678(jo 
ahcdejghtJkl,nnopqrstitvwxyzfifl§ffiffl  1234567890  {$l,.:;'-?l  nW  12^456781)0 


Matrix  Injori. 
cliannel  inaK-'i- 


ilion  :  O^u:.    I,.,\ver  t,' 
lie,  (nile  w..rd,  V.OU.X. 


alplKihet.  lOR  points.   Figures.  .056;  comiiin.  period  and  thin  .space.  .028.  Runs  in  90 


Ten  Point  Granjon 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ES 
DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OV 


How  IS  ONE  to  assess  and  evaluate  a  type  face 
in  terms  of  its  esthetic  design.''  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  a 
specific  face  of  type?  What  do  they  see  in  it."* 
Why  is  it  so  superlatively  pleasant  to  their 
eyes  ?  Good  design  is  altiuiys  practical  design . 
And  what  they  see  in  a  good  type  design  is, 
partly,  its  excellent  practical  fitness  to  per- 
form its  work.  It  has  a  "heft"  and  balance  in 
all  of  its  parts  just  right  for  its  size,  as  any 
good  tool  has.  Your  good  chair  has  all  of  its 
Hoto  is  one  to  assess  and  evaluate  a  type  face 
in  terms  of  its  esthetic  design?  Why  do  the 
pacc-nial{ers  in  the  art  of  printing  rave  over  a 


How  IS  ONE  to  assess  and  evaluate  a  type  face 
in  terms  of  its  esthetic  design.-'  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  a 
specific  face  of  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  to  their 
eyes  ?  Good  design  is  altvays  practical  design . 
And  what  they  see  in  a  good  type  design  is, 
partly,  its  excellent  practical  fitness  to  per- 
form its  work.  It  has  a  "heft"  and  balance  in 
all  of  its  parts  just  right  for  its  size,  as  any 

(one  point  leaded  I 

How  is  one  to  assess  and  evaluate  a  type  face 
in  terms  of  its  esthetic  design?  W      g  j  P  q  y 


I  solid)  (set  with  long  deseenders,  on  tjivlrc  point  body) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPORSTU  V  WXYZ& 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflffffiffl  12.HSr)7800  (f /,.:;'-'?!*t+§^)  1234567890 
abcdefgh,]l{lmnopqrstuvwxyzfifl§ffiffl  1234567890  ($£..:;'-'?!  ftW  12^4567890 


Matii.v  I>jfonnatii>}j :  IDA-^S.  [.(.wer  case  aliiliabcf .  117  points.  Fifiircs,  .06. 
clinnnel  iiiaga/inc.  Code  wunl.  ZF.CF!. 


Dinnia,  iHTiotl  and  Ihin  space,  .0311.  Runs  in  90 


453 


Eleven  Point  Granjon 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF 
ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF 
How  IS  ONE  to  assess  and  evaluate  a  type  How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design?  Why  face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing  do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  type  ?  What  do  rave  over  a  specific  face  of  type  ?  What  do 
they  see  in  it?  Why  is  it  so  superlatively      ^^ey  see  in  it?  Why  is  it  so  superlatively 


pleasant  to  their  eyes?  Good  design  is  al 
ways  practical  design.  And  what  they  see 
in  a  good  type  design  is,  partly,  its  excel- 
lent practical  fitness  to  perform  its  work. 
It  has  a  "heft" and  balance  in  all  of  its  parts 
just  right  for  its  size,  as  any  good  tool  has. 


pleasant  to  their  eyes?  Good  design  is  al- 
ways practical  design.  And  what  they  see 
in  a  good  type  design  is,  partly,  its  excel- 
lent practical  fitness  to  perform  its  work. 
It  has  a  "heft"  and  balance  in  all  of  its  parts 


Your  good  chair  has  all  of  its  parts  made  just  right  for  its  size,  as  any  good  tool  has. 
nicely  to  the  right  size  to  do  exactly  the  Your  good  chair  has  all  of  its  parts  made 
work  that  the  chair  has  to  do,  neither      nicely  to  the  right  size  to  do  exactly  the 

(solid)  (ouc  point  leaded) 

How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  ?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in 
it  ?  Why  is  it  so  superlatively  pleasant  to  their  eyes  ?  Good  design  is  always  practical  de- 
sign. And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent  practical  fitness  to 
perform  its  work.  It  has  a  "heft" and  balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do 
exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and 
weak,  no  waste  of  material  and  no  lack  of  strength.  And,  beyond  that,  the  chair  may 
have  been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and  curves  and 
proportions:  It  may  be,  actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of  let- 
ters. And  your  chair,  or  your  letter  (if  a  true  artist  made  it)  will  have,  besides  its  good 
Hotu  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the 
pace-maJ{ers  in  the  art  of  printing  rave  ever  a  specific  face  of  type?  What  do  they  see  in 
it?  ]\'hy  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  practical  de- 

(tzuo  point  leaded) 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in 
it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  p    g  j  p  q  y 

(set  'icith  long  descenders,  on  thirteen  point  body) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHlfKLMNOPQRSTUVWXYZ& 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflf?ffiffll234567890($^,.:;'-'?!*tt§11)  1234567890 
abcdefghij{lmnopqrstuvwxyzfiflffffiffl  1234567890  ($£,■:;'-'?!  ftW)  12^4567890 

Matrix  Information  :  11A102.  T-ower  case  alphabet,  126  points.  Figures.  .0623;  comma,  period  and  thin  ?<pace.  .0311.  Runs  in  90 
channel  magazine.  Code  word,  ZECU. 


454 


Twelve  Point  Granjon 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS 
OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE 

How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  ?  Why 
do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type  ?  What 
do  they  see  in  it  ?  Why  is  it  so  superlatively  pleasant  to  their  eyes  ?  Good  design 
is  always  practical  design.  And  what  they  see  in  a  good  type  design  is,  partly,  its 
excellent  practical  fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of 
its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do, 
neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of  material  and  no 
lack  of  strength.  And,  beyond  that,  the  chair  may  have  been  made  by  a  man  who 
worked  out  in  it  his  sense  of  fine  shapes  and  curves  and  proportions:  it  may  be, 
actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of  letters.  And  your  chair, 
or  your  letter  (if  a  true  artist  made  it)  will  have,  besides  its  good  looks,  a  suitabil- 
ity to  the  ;;th  degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That  explains,  in 
a  way,  why  the  experts  rave  over  the  fine  shapes  of  letters;  but  it  fails  to  explain 
wherein  the  shapes  are  fine.  If  you  seek  to  go  further  with  the  inquiry,  theories 
will  be  your  only  answer.  Here  is  a  theory  that  the  proponent  thinks  may  have 
sense  in  it:  Fine  type  letters  were,  in  the  first  place,  copies  of  fine  written  letters. 
Fine  written  letters  were  fine  because  they  were  produced  in  the  most  direct  and 
simple  way  by  a  tool  in  the  hands  of  a  person  expert  in  its  use,  by  a  person,  more- 
over, who  was  an  artist,  i.e.,  a  person  equipped  to  make  sound  judgments  about 
lines,  curves,  proportions,  etc.  The  artist  of  that  moment  when  printing  was  in- 
Hoiv  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makjers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is 


(two  pii'tnt  IcadfJt 


How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  ?  Why 
do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type  ?  What 
do  they  see  in  it  ?  Why  is  it  so  superlatively  pleasant  to  their  eyes  ?  Good     g  j  p  q  y 


(  set  zvitli  long  dcsccndc 


on  juiirtccn  point  body) 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTU  V  WXYZ& 

ABCDEFGHI J  KLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflfiFffiffll234567890($;r,.:;'-'?!*t4:§1)  1234567890 
abcdefghi]klmnopqrstHvwxyzfiflffffiffll234567890($l,.: ;'-'?!  nWi2^4s678go 

Matn.v  Iniormation  :  IJAJNS.  T.ower  ca^e  alphalict.  \M  points.  FiKUies.  .0692;  cuinnia.  period  and  thin  spacL-.  .0.14^.  Runs  in  90 
channel  magazine,  (."ode  word,  ZHDI. 


455 


Fourteen  Point  Granjon 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN 
TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-M 
How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to 
their  eyes?  Good  design  is  always  practical  design.  And  what  they  see  in 
a  good  type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its 
work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the 
right  size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy 
and  thick,  nor  "skinny"  and  weak,  no  waste  of  material  and  no  lack  of 
strength.  And,  beyond  that,  the  chair  may  have  been  made  by  a  man  who 
worked  out  in  it  his  sense  of  fine  shapes  and  curves  and  proportions :  it 
may  be,  actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of  letters. 
And  your  chair,  or  your  letter  (if  a  true  artist  made  it)  will  have,  besides 
its  good  looks,  a  suitability  to  the  «th  degree  to  be  sat  in,  or  stamped  on 
paper  and  read.  That  explains,  in  a  way,  why  the  experts  rave  over  the  fine 
shapes  of  letters;  but  it  fails  to  explain  wherein  the  shapes  are  fine.  If  you 
seek  to  go  further  with  the  inquiry,  theories  will  be  your  only  answer. 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  de- 
sign? Wliy  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  WJiy  is  it  so  superlatively  pleasant  to 


(tzv    point  leaded) 


How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively     g  j  p q  y 


(set  zvith  long  descenders,  on  fifteen  Point  body) 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMN0PQRSTUVWXYZ6r 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflfTffiffl  12345  ($/;,.:  ;'-'-''*tt§1I)  12345 
abcdefghijkjmnopqrstuvwxyzfififfffiffl  12345  ($£,.:;'-'?  tt§il)  1234^ 

Matrix  Information:  14A170.  Lower  case  alphabet.  153  points.  Figures,  .083;  comma,  period  and  thin  space,  .0415.  Runs  in  90 
channel  magazine.  Code  word,  ZEEC. 


456 


Eighteen  Point  Granjon 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  es- 
thetic design?  Why  do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why 
is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  al- 
ways practical  design.  And  what  they  see  in  a  good  type  design 
is,  partly,  its  excellent  practical  fitness  to  perform  its  work.  It 
has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size, 
as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made 


lltl'o  poll: I  1,-ttdfdl 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflfiffBffll234  ($,.:;'-'?!)  1234 

Matrix  Isifoy})iatu>n  I  SA-^Hl .  Lower  case  alplialiel,  ISO  points.  FiKure  I.  M(>92:  J  to  n.  .Il(i7.  Kniis  in  •)*)  dianiiel  niau;a/ine.  1'. 
jjdiiit  aligiinient.  Ci.»de  word.  ZEGU. 

Eighteen  Point  Granjon  Italic 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  F 

How  IS  one  to  assess  and  evaluate  a  type  faee  in  terms  of  its  es- 
thetic design?  Why  do  the  pace-ma\ers  in  the  art  of  printing 
rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is 
It  so  superlatively  pleasant  to  their  eyes?  Good  design  is  ahvays 
practical  design.  And  what  they  see  in  a  good  type  design  is, 
partly,  its  excellent  practical  fitness  to  perform  its  tuor\.  It  lias 
a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely 

(two  faint  l<;iJ<;l) 

ABCDEFGHIfKLMNOPORSTUVWXYZ& 

abcdefghijl^lmnopqrstuvtvxyz fiflfjffiffl  ($, '•','-? I)  12 ^^^6 j 

Moli-ix  Ini,nniati,nt :  IXA.lOl.  Lower  c.ise  :ilpli,ilict.  177  ii..iiits.  I'isiuTC  1.  ."S3:  2  t(i  0.  .1107.  Uuiis  in  Oo  ai.-mncl  iii,iKa/im-.  K> 
I)(init  .iliKimunt.  ('..(!<■  w.ivd.  '/Kill. 

All-Purpose  Linotype  matrices  arc  also  available  in  the  18  point  size 


457 


Twenty-One  Point  Granjon 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A 
TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESI 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of 
its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of 
printing  rave  over  a  specific  face  of  type?  What  do  they 
see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes? 
Good  design  is  always  practical  design.  And  what  they 
see  in  a  good  type  design  is,  partly,  its  excellent  practi- 
cal fitness  to  perform  its  work.  It  has  a  "heft"  and  balance 
in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has. 
Your  good  chair  has  all  of  its  parts  made  nicely  to  the 
right  size  to  do  exactly  the  work  that  the  chair  has  to  do, 
neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no 
waste  of  material  and  no  lack  of  strength.  And,  beyond 


( tzvo  point  leaded) 


How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of 
its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of 


(set  with  short  dcscrudcis.  ou  eighteen  point  body) 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflfffiRffl 
1234567890  ($,.:;'-'-^!)  1234567890 

Habcdefghijklmnopqrstuvwxyz&  how  is  one  to  asseH 

21  Point  Granjon  Small  Caps  (21A19).  Will  run  in  lower  case,  center  or  cap  channels  of  90  channel  layout. 

Matrix  Inforwation  .  21A19.  Lower  case  alphabet.  196  points.  Figure  1.  .083;  2  to  0.  .1107.  Runs  in  90  channel  magazine.   18 
point  alignment.  Code  word,  ZEHY. 


458 


A-PL 


:ilT>lia)>i-l.  -•',.!  ijoi.ils.  Code  vM.nl,  ZAZEU 


Twenty-Four  Point  Granjon 

HOW  CAN  ONE  EVALUATE  AND 
How  is  one  to  assess  and  evaluate  a  type  face 
in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over 
a  specific  face  of  type?  What  do  they  see  in 
it?  Why  is  it  so  superlatively  pleasant  to  the 
eyes?  A  good  design  is  always  a  practical  de- 
sign. And  what  they  see  in  a  good  type  de- 
sign is,  partly,  its  excellent  practical  fitness 
to  perform  its  work.  It  has  a  "heft' '  and  bal- 
ance in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of 
its  parts  made  nicely  to  the  right  size  to  do 
exactly  the  kind  of  work  that  the  chair  must 
do,  neither  clumsy  and  thick,  nor '  'skinny  " 
andweak,nowasteofm  ($,.:;'-'?  !fiflflfffiffl) 


((HM  f"'"t  Iftnlrtll 


ABCDEFGHIJKLMNO 

PQRSTUVWXYZ&  1234567890 

abcdefghijklmnopqrstuvwxyz 

All-Purposc  Linotype  m;urices  arc  also  available  in  the  18  point  size 


459 


A-P-L 

Thirty  Point  Granjon 


(J0A10_'7)  Lower  case  alphabet.  317  points.  Code  word.  ZAZFE 


How  is  one  to  assess  and  evaluate  a 
type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  pace-makers  in  print- 
ing arts  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is 
it  so  superlatively  pleasant  to  their 
eyes?  A  good  design  is  always  a  prac- 
tical design.  And  what  they  see  in  a 
good  type  design  is^  partly,  its  excel- 
lent and  practical  fitness  to  perform 
its  work.  It  has  a  ''heft"  and  balance 
in  all  of  its  parts  ju  ($,:;'-'?!fiflff ffiffl) 


(four  point  leaded) 


ABCDEFGHIJKLMNOPQ 
RSTUVWXYZ&  1234567890 

abcdef  ghi  j  klmnopqrstuvwxy  z 


460 


A-PL 


(J6A1027)  Lower  c.ise  alphabet,  369  po!r]ts.  Cndc  word.  ZAZIK) 


Thirty-Six  Point  Granjon 

(J6A1027)  Lower  case  alpha 

How  is  one  to  assess  and  evalu- 
ate a  type  face  in  the  terms  of  its 
esthetic  design?  Why  do  pace- 
makers in  the  printing  art  rave 
over  specific  type  faces?  What 
do  they  see  in  them?  Why  are 
they  so  pleasant  to  their  eyes? 
A  good  design  is  always  prac- 
tical design.  What  they  see  in  a 
($,.:;'-?!fiflffffiffl)  123456789 


(f.Mfi-  p.-inl  !,-a,ir,!l 


ABCDEFGHIJKL 
MNOPQRSTUVWXYZ& 

abcdef  gh  j  klmnopqrstuv  wxy  z 


461 


:A-PL 


(42A1027)  Luwer  case  alphabet,  419  points.  Code  word.  ZAZIF 


Forty-Two  Point  Granjon 

(42A1027)   Luwer  case  alph; 

How  can  one  evaluate  and 
assess  type  faces  in  terms  of 
their  esthetic  design?  Why 
do  all  pace-makers  in  print- 
ing arts  rave  over  a  specific 
face  of  type?  What  do  they 
see  in  it?  Why  is  it  so  super- 
vwxyz($,:;'-'?!fiflffffiffl)12 


(jour  point  leaded) 


ABCDEFGHIJKLM 
NOPQRSTUVWXYZ& 

abcdefghijklmnopqrstu 


462 


^A-P-Lm 


(IKAIO.VI  l.owci  lavi-  ;ilijhal)et.  4X0  ixjinls.  Coilt  weird,  ZAZIl, 


Forty-Eight  Point  Granjon 

(IKAIO.VI   l.owci   lavi-  alphal 

How  can  one  assess  and 
evaluate  a  type  face  in  a 
term  of  its  own  esthetic 
design?  Why  do  all  the 
pace-makers  in  printi  a 
bcdef  ghi]  klmnopqr  s  tu 
vwxyz($,.:;'-'?!fiflfl[ffiffl) 


llolir  f'ii'l  Un.i.d) 


ABCDEFGHIJKL 
MNOPQRSTUVW 

XYZ&1234567 


463 


^A-P-L2 

Sixty  Point  Granjon 


(60A1027)  Lower  case  alphabet,  603  points.  Code  word.  ZAZIS 


How  can  one  eval- 
uate or  assess  a  face 
of  type  abcdefghij 
klmnopqrtuvwxy 

z  ($,:;^-'?!  fiflff  ffiffl) 


(six  point  leaded) 


ABCDEFGIJK 

LMOPQRSTUV 

WXYZ&2345 


464 


^A-P-L3i^ 


Seventy-Two  Point  Granjon 


(7-'All)-7l   l...«fr  ,.is<.  ..Ipl.al..!.  7  «l  [...iiits.  C.ilo  ivnrd.  y.]J\\ 


How  can  a  face 

abcdeghijklmo 
pqrstuvxyz$12 

(,:;'-'?!  fiflff  ffiffl) 


(solid) 


ABCDEFG 

HIKLMNOP 

QRSTXYZ 


465 


^A-P-L^c 


Eighteen  Point  Granjon  Italic 


(18A1028)  Lower  case  alphabet.  182  points.  Code  word.  7k7A\ 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  TYPE 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of 
its  esthetic  design  ?  Why  do  pace-ivaJ{ers  in  the  art  of  print- 
ing rave  over  a  specific  face  of  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  de- 
sign is  always  practical  design .  And  what  they  see  in  a  good 
type  design  is,  partly,  its  excellent  practical  fitness  to  per- 
form its  work  -  It  has  a  '  'heft ' '  and  balance  in  all  of  its  parts 
just  right  for  its  size,  as  any  good  tool  has .  Your  good  chair 
has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly 
the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick 
nor  ''skinny"  and  weak,  no  waste  of  material  and  no  lack 
of  strength.  And,  beyond  that,  the  fine  chair  may  have  been 
made  by  a  mafj  who  worked  out  in  it  his  sense  of  fine  shapes 
and  curves  and  proportions:  it  may  be,  actually  a  work  of 
art.  The  same  thing  holds  for  shapes  of  letters.  And  your 
chair,  or  your  letter  {if  a  true  artist  made  it)  will  have,  be- 
sides its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat 
in,  or  stamped  071  paper  and  read.  That  explains  in  a  way, 
why  the  experts  rave  over  the  fine  shapes  of  letters;  but  it 
fails  to  explain  wherein  the  shapes  are  fine.  If  you  seek  io 
go  any  further  with  the  inquiry,  theories  will  be  your  only 


(trvo  point  leaded) 


ABCDEFGHIfKLMNOPORSTUVWXYZ& 

abcdefghijklninopqrstuvwxyz  1234567890 

■■;'-'?>■  fiflffffiffl) 


466 


A-P-L 


l-MAinjS)   I.cnvcr  tasi-  aliilial.ct.  JJ!  points.  Todc  word.  Z.\Z.ir 


Twenty-Four  Point  Granjon  Italic 

HOW  CAN  ONE  ASSESS  I T^^^    FACE 

How  is  one  to  assess  or  evaluate  a  typeface  in 
terms  of  its  esthetic  design  ?  Why  do  the  pace- 
makers in  printing  arts  rave  over  a  specific  face 
of  type?  What  do  they  see  in  it?  Why  is  it  so  sii- 
perlatively  pleasant  to  their  eyes?  Good  design 
is  always  practical  design.  And  what  they  see  in 
a  good  type  design  is,  partly,  its  excellent  prac- 
tical fitness  to  perform  its  work-  It  has  a  ''heft'' 
and  balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good  chair  has  all 
of  its  parts  made  nicely  to  the  right  size  to  do  ex- 
actly the  work  that  the  chair  has  to  do,  neither 
clumsy  and  thick,  nor  ''skinny''  and  weak,  no 
waste  of  material  and  no  lack  of  strength.  And 
beyond  that,  the  chair  may  have  been  made  by  a 


(t-.iui  p„ii,t  IrtnlfJ) 


ABCDEFGHIJKLMNOPQRSTUV 

WXYZ&  1234567890  ($,.:;'-'?!fiffffffiffl) 
abcckfghii]{lmiwpqrstuvwxyz 


Ab7 


A-P-L 


{3()A1028)  Liiwer  case  alplialjet.  2SG  points.  Code  word.  Z.\ZKA 


Thirty  Point  Granjon  Italic 

{,i()A1028)  Liiwer  case  alplialje 

HOW  IS  ONE  TO  ASSESS  AND 

How  is  one  to  assess  and  evaluate  a  type 
face  in  a  term  of  its  esthetic  design  and 
why  dopace-maXers  in  the  art  of  print- 
ing  rave  over  specific  typefaces?  What 
do  they  see  in  them  ?  What  ma\es  them 
so  superlatively  pleasant  to  their  eyes? 
A  good  design  is  always  a  practical  de- 
sign .  What  they  see  in  good  type  design 
is,  partly y  its  excellent  practical  fitness 
to  perform  its  wor\.  It  has  a  ''heft''  and 
balance  in  all  of  its  ($, . :;  -  '?lfiflffffiffl) 


(four  point  leaded) 


ABCDEFGHIJKLMNOP 

QRSTUVWXYZ&1234567890 

abcdefgh  ijk  Im  n  opq  rstu  vwxyz 


468 


A-P-L^ 


(.!f>AI"-'«)  l.owiT  CISC  alpliali.-i,  ,i  !0  poini";.  Coilc  word,  ZAZI.E 


Thirty-Six  Point  Granjon  Italic 

(.!f>AI"-'«)   I.owiT  ..isu  alpliali.-l,  ,i 

How  can  one  assess  and  evaluate 
a  typeface  in  terms  of  its  esthetic 
design?  Why  do pace-ma\ers  in 
printing  arts  rave  over  a  specific 
face  of  type  ?  What  do  they  see  in 
it?  Why  is  it  so  pleasant  to  their 
eyes?  A  good  design  is  always  a 
practical  design.  And  what  they 
see  in  good  type  design  is,  partly, 
It  ($,.:;'-'?!fiflffffiffl)  123456 


(Umr  fii't  li-aJcd\ 


LMNOPQRSTUVWXYZ& 

abcdefghijk  Imnopqrsttivwxyz 


^' 


469 


A-P-L 


(42A1028)  Lower  ease  alphabet.  387  points.  Code  word,  ZAZ.MI 


Forty-Two  Point  Granjon  Italic 

(42A1028)  Lower  ease  alphabet.  38 

Hoiv  can  one  assess  a  face  of 
type  in  a  term  of  its  esthetic 
design  and  why  do  all  of  the 
pace-makers  in  the  printing 
arts  rave  over  a  specific  face 
of  type?  What  do  they  see  in 
it?  Why  is  it  so  sup  uvtvxyz 

($,,;'-'?!fiflffffiffl)  67890 


(jour  point  leaded) 


ABCDEFGHIJKLM 
NOPQRSTUVWXYZ& 

abcdefghijkltnnopqrst 


470- 


A-PL 


(■4f<Al<)-XI  Lower  r.iM-  alpli.ilicl .  -H"  pniiils.  Ci.dc  word.  ZAZNO 


Forty-Eight  Point  Granjon  Italic 

(■4f<Al<)-f^l  Lower  r;iM-  alpli.ilicl .  -Hi 

How  is  one  to  evaluate  a 
face  of  type  in  terms  of  its 
esthetic  design  ?  Why  do 
pace-makers  in  printing 
arts  rave  over  a  specifi  ah 


c 


defghij\lmnopqrstuvw 
xyz  ($,.:;'-'?! fiflffffiffl) 


(jimr  /',.;»/  Iculi-d) 


ABCDEFGHIJK 

LMNOPQRSTUVW 

XYZ&1234567 


471 


knight's  talk  became  in  his  mind  a  green  and 
golden  my^ery,  full  of  vague  sounds,  with  some- 
body talking  whose  voice  Peronnik  had  heard 
before  in  the  Greets  ot  Saint-Jean-de-Braie,  but 
whose  name  kept  slipping  from  his  mej^ 
try  hard  as  he  might  to  remember  it.  An 
was  the  laft  that  Peronnik  heard  of  the  p 
doner,  who  had  .topped  in  front  of  the 
to  reft  for  a  while,  the  afternoon  being  h 
his  pack  heavy,  and  who,  sitting  on  a  fa 
bole,  had  fallen  to  deploring  the  evil  tim 
ing  that  he  had  traversed  many  villages 
out  selling  a  single  relic,  and  in  a  countr 
nowned  for  its  piety.  And  this  pause  of 
among  the  peasantry  he  set  down  to  the! 
for  having  addressed  themselves  to  God 
avail  the  peasantry  were  now  offering  pr 
the  Devil  every  evening  in  the  Village  of 
Jean-de-Braie,  a  favorite  retreat  for  wor 
being  a  dusky  garden  or  orchard.  On  th 
asking  the  reason  for  these  conversions, 
doner  said  that  the  folk  had  put  aside  th 
saying  that  the  same  power  could  not  be 
creator  of  both  good  and  evil.  He  had  of 
heard  mutterings  among  the  crowd  that 
levied  about  him:  God  is  deaf;  the  Devi 
have  a  readier  ear  to  our  prayers.  He  an 
prieft,  though  often  at  variance,  were  ag; 
that  Devil-worship  was  of  all  sins  the  w 
and  they  had  driven  againft  the  heresy.  I 


jL/ePOMMik 
f^c  £oot 


21 


I'he  C.  H.  JAMES 
COLLECTION  of 

Garden 
I  Books  \ 

RIVERSIDE    LIBRARY 


(B^a, 


5fep  2. 


^^*v*.^_^ND  through  shad' 
dells,  over  sunlit  hill-tops  out  of  sight  of  watch 
ers,  out  of  hearing  of  eavesdroppers,  the  twaii 
wandered,  the  knight  in  deep  thought,  Peron 
nik  leading  the  horse  half-forgetful  of  the  Grc 
Caftle  and  his  approaching  knighthood,  happ' 
in  the  enchantment  of  the  foreft,  and  at  homi 
in  it  even  as  the  birds  and  animals. 

At  noon  the  knight  dismounted,  and  whil^ 
the  horse  grazed  at  tether  he  talked  to  Peronnil 
of  the  honour  of  knighthood  and  its  duties,  th( 
chime  of  his  words,  of  which  Peronnik  under 
ftood  nothing,  bringing  sleep  into  Peronnik': 
eyes.  But  remembering,  as  he  always  dicl,  tha 
courtesy  should  be  lacking  in  nobody,  he  Strug 
gled  againft  the  weariness  that  the  warmth  of 
the  sunlight  and  the  monotonous  murmur  of 
the  foreft  imposed  upon  his  eyelids,  till  th( 

20 


Above:  Two  pages  from  the  distinguished  edition  of  Peronnik  The  Fool,  designed  by  Bruce  Roger: 
and  printed  at  Tlie  Printing  House  of  William  Edwin  Rudge.  New  York.  Text:  12  point  Granjot 
with  long  descenders,  on  14  point  body;  running  and  chapter  heads  in  Civilite. 

Left :  Bookplate  in  11.  14  and  24  point  Granjon.  Garamond  Decoration;  6  point  Border  Matrices  G-38 
G-35  R  and  L,  G-;9  R  and  L  and  2  point  Matrix  Slide  No.  404. 


LINOTYPE 

GOTHICS 


FRANKLIN  GOTHIC 
GOTHIC  N0.13     GOTHIC  NO.  16 

GOTHIC  NO.  38 

GOTHIC  CONDENSED  NO.  1     GOTHIC  CONDENSED  NO.  2 

GOTHIC  CONDENSED  NO.  3 

NO.  4      GOTHIC  NO.  14 

GOTHIC  NO.  18 


LINOTYPE 


MERGENTHALER  LINOTYPE 
COMPANY-  BROOKLYN,  N.Y. 

NEW    YORK    CITY,    CHICAGO,    SAN    FRANCISCO,    NEW 

ORLEANS.   CANADIAN    LINOTYPE,    LIMITED,  TORONTO 

Representatives  in  the  Principal  Cities  of  the  World 


FRANKLIN    GOTHIC 

18  Point 

HOW  IS  ONE  TO  ASSESS  AND  EVALU 
How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  esthetic  design?  Wliy 
do  pace-makers  in  tlie  printing  art  rave 
over  a  specific  type  face?  What  do  they 
see  in  it?  Why  so  superlatively  pleasant 
to  their  eyes?  A 1234567890  ($,.:;'-'?!) 


I^niiil  leaded) 


ABCDEFGHIJKLMNOPQRST 

UVWXYZ& 
abcdefghijklmnopqrstuvwxyz 

Matrix  Information  IHA399.  Lower  case  alphabet.  277  points.  Figures.  .1798.  Will  nm  in  72  channel  layout:  also  lower  case 
in  cap  channels  of  9U  channel  niaga;!ilie  with  caps  and  figures  in  34  channel  auxiliary  magazine.  19  point  alignment.  Code  word, 
ZICIS 


-(»°LINOTYPE""h 
24  Point 


HOW  IS  ONE  TO  ASSESS  AND  E 
How  is  one  to  assess  and  evalu- 
ate type  faces  in  terms  of  their 
estlietic  design?  Why  do  many 
pace-ma  1234567890  ($,.:;'-'?!) 

(four  point  leaded) 

ABCDEFGHIJKLMNOPQRS 

TUVWXYZ& 
abcdefghijklmnopqrstuvwxyz 

Matrix  Information  :  24A351.  Lower  case  alphabet.  340  points.  Figures.  .2075.  Will  run  in  Wide  72  channel  magazine:  also 
lower  case  in  cap  channels  of  72  channel  magazine  with  caps  and  figures  in  Wide  34  channel  auxiliary  magazine.  Smallest  slug 
on  which  this  face  will  cast  is  22  point.  Code  word,  ZICIY. 


474 


^  APL^ 

FRANKLIN    GOTHIC 

30  r.iiiit  (.OTAin^.l!  I..ivvpr  i:ise  aliiliabct,  -IIJ  points,  (rule  wtiril.  ZKRI-'.T 

METALS  HIT  NEW  HIGH 
On  strength  of  arms  news 
and  47  big  leaders  of  the 
syndicates  operating  with 


,55  Point  (.16A1»^!1  i.ower  i.ise  alpli.ihet,  SDl  ].r>ints.  Code  wold.  ZKI'KV 


WHEAT  PRICES  ARE 
Down  6  to  8  points  in 
early  trading  and  tlie 


42  E'oltit   l-lJAIIi^.ll   Lower  lase  alphaliel.  573  points.  Code  word.  ZEPFA 


PRESIDENT  NOW 
Ready  to  sign  new 
plan  for  350  more 


4S  T'oint   (4XA1 115,(1    I.ower  lase  allilialict.  (oO  p,,ints.  (ode  word.  ZKI'Ill 


BOAT  SHOW  IS 
Largest  in  1 2  or 

A-P-L  range  also  includes  1  8  and  24  point  sizes 


475 


API 


FRANKLIN    GOTHIC 

60  Point  (60A1053)  Lower  case  alphabet,  SJ8  points.  Code  word.  ZEPJO 

SPRING  HAT 
High  crown  4 
Only  $3  for  a 


72  Point  (72A105,1)  Lower  case  alphabet,  10:1  points.  Code  word.  ZEPKL 


SAND  SET 

For  a 


84  Point  (84^105.?!  Lower  case  alphabet.  1274  points.  Code  word.  ZEVER 


SET  BY  2 

In  a  great 


476 


API 


FRANKLIN    GOTH  IC 

95  Point  '56^:'  =  "    I  ^ -ve- case  a^^ihabe:^  :417  o--;-:-;.  r-.le  -..    -'    V-':?'; 

NET  IN  6 

Clubs  by 


120  Point  a20A1053)  Lower  case  alphsbet,  1^51  points.  Code  word.  ZE\'HO 


!--i  Point  ' '-i-i_^:o*5^  Lower  case  alphabet.  \^A:  r>-'!n!:s.  Co*ie  word.  ZEVIF 


477 


API 


FRANKLIN    GOTHIC    ITALIC 

]8  Point  (18AI065)  Lower  case  alphabet.  277  points.  Code  word.  ZEVIL 

FALL  SALE  OF  FINE  WOOL  NECKTIES 
Woven  and  hand-blocked  in  England  in 
figures,  stripes  and  plaids.  Reduced  for 
clearance  from  $1.50  to  85c  during  the 
September  sale.  These  ties  guaranteed 


.M  Point  (24A1I«)5)  Lower  case  alphabet.  337  points.  Code  woril.  ZF.VIS 


HIGH  GRADE  STOCKS  BREAK 
To  a  new  low  since  1934;  many 
reasons  are  given  for  decline  in 
survey  just  completed  by  broker 


30  P.nnt   iinAin''>';i   Lower  case  alphabet.  42=^  points.  Code  word.  ZEV1^■ 


NEW  STEEL  SCHEDULE 
Seen  lifting  scaies;  prices 
on  steei  scrap  receding  62 
cents  to  the  mid-January 


36  Point  (.•!6A10i^=;)  Lower  case  alphabet,  .'ilg  points.  Code  word,  ZEVJU 


CHANGES  MADE  IN 
Football  League  rule 
on  suspensions;  club 
player  list  now  30  In 


A78 


^APL^ 

FRANKLIN    GOTHIC    ITALIC 

4.'   F'oint    M^AIO'ol    I  ,,u.-i   ,a^c  alphal.el,  'A>:  p^nins    (  ,,<l,.  word.  ZI-A'KA 

TO  ACCEPT  BIDS 
On  21'Story  tower 
in  midtown  by  the 
system  showing  6 


48   I'oiiit    MKAllll.S)   Lower  r.ise  alplialipt.  1.8-4  points.  (  oilc  word.  ZKVI.K 


ISSUE  LIST  ON 

Stock  approved 
by  53  leaders  In 


60  Toint    (f,(I.Alll(,m    Lower  case  alidi.il.el.  87  t  points    (  ode  word.  /I-\'MI 


COSTS  ARE 
Big  factor  in 
pian  for  7  of 


479 


APL 


FRANKLIN    GOTHIC   CONDENSED 

96  Point  (96A1063)  Lower  case  alphaliet.  1027  points.  Code  word.  ZEVUH 

THE  TWO 

Boys  of  5 


144  Point  (144AK)6,1I  Lower  case  alphabet.  \r<i,'i  points.  Code  word.  ZF.Vl'V 


Drop  in 


480 


API 


FRANKLIN   GOTHIC   EXTRA  CONDENSED 

18  IVnnt    (IXAM".-<)    I  ..  .w.T  .  ,i-,.-  ,-,1  |ili;.l.,t  ,    IXdi.MinK    (  .  kIi-  w,  ,r.l ,   ZI-VVO 

FEDERAL  BONDS  AND  FOREIGN  ISSUES  SHOW  STRENGTH 
But  domestic  corporate  list  has  more  losses  than  gains 
in  dull  session;  trading  totals  $6,509,213  during  the  day 
as  against  7,152,205  for  the  day  previous;  demand  for  a 


24  Point   (24A10n4)  Lower  c.ise  alphahet.  217  poiiils.  (  ock-  word,  ZICVl'l-; 


BIG  RISE  IN  EXPORTS  FOR  ELECTRICAL  GOODS 
Is  shown;  total  is  up  to  $123,746,598,  or  20% 
higher  than  in  1936  with  aggregate  nearing  the 
level  of  1928;  building  supply  corporations  are  a 


30  Point  (3nA10(.4l  Lower  case  alpliabet.  269  points.  Code  word.  ZEVZI 


COTTON  DECLINES  4  TO  6  POINTS  TO 
Lows  for  move  and  fresh  relapse  puts 
prices  off  as  liquidating  broadens  and  a 


36  Point  (3f)Al(>64)  Lower  case  alplialiet.  316  points.  Code  word.  ZKVA.M 


FOREIGN  MOTOR  SALES  ARE  UP 
To  peak  of  1928  as  gains  show  in 


42  Point   (42AH)64)  I,..wer  case  alldialict.  376  points.  Code  uonl,  ZKV.W 


WEAKER  WHEAT  HOLDINGS 
Held  disposed  of  now;  top  35 


481 


API 


FRANKLIN   GOTHIC   EXTRA  CON DENSED 

48  I'oint  (48A1064)  Lower  case  alphabet.  429  pi)ints.  Code  word.  ZEYAZ 

TURNOVER  OF  WESTERN 
Mining  stock  changes  45 
Contracts;  buying  now  is 


60  Point  (60A1064)  Lower  case  alphabet.  551  points.  Code  word.  ZEVBA 


COPPER  DECLINE  IS 
Heavy  In  39  Leading 


72  Point  (72A1064I  Lower  case  alphabet.  669  points.  Code  word,  ZEYCE 


TIRE  GROUP  TO 

Display  More  27 


84  Point  (84AI064)  Lower  case  alphabet.  889  points.  Code  word.  ZEYDI 


Their  Right  16 


482 


API 


FRANKLIN   GOTHIC   EXTRA  CONDENSED 

y(,  I'oiiit    ryi,zjl'«j4)    l^.jucr  La^i-  .ilpli.ihut,  V'-:-;  ,„,inls.  i  "ill-  \\MiiJ.  /.\:\\J; 

EIGHT  YEAR 

Plan  Bag  38 


120  Point  (130Ain64)  Lower  case  alphabet.  117.1  points.  Code  word.  ZEYEH 

Boys  15  In 


144  Point  n44Ain'',4)  Lower  case  alphabet.  \K4  points.  Code  word.  ZEYEN 

Rug  at  9 


483 


GOTHIC   NO.  13  with  CHELT.   BOLD  COND. 

8  Pciiiit  <8A318)  Lower  case  alphabet.  102  points.  Figures,  .0553 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  Its  esthetic  design?  Why  do  the  pace-m  1234 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  ?  Why  do  the  pace-m  1234 

Matrix  liiivrmatiun :  Will  run  in  90  channel  lajoiit.  Lode  word.  KIWI. 

in  Point  (inA2S6)  Lower  case  alphabet.  117  points.  FiKures.  .nfi92 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  1234 

Matrix  Injormation :  W  ill  run  in  90  channel  laytiut.  Code  word.  KL\(  '. 

12  Point  (12A242)  Lower  case  alphabet.  139  points.  Figures.  .083 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  de  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  de  1234 

Matrix  Information :  Will  run  in  90  channel  layout.  Code  word,  KIYB. 

14  T'oint   (14A1.^6>  I.nwer  case  a]phnt)et.  K.l  points.    Fi.mires.  0968 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  1 234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  1234 

Matrix  Injormation  :  Will  run  in  90  channel  layout.  Code  word,  KIZU. 

18  Point.  TwivLetter  (ISA36)  Lower  case  a]ph;ihet.  189  points.  Figures.  .1107 

HOW  IS  one  fo  assess  and  evaluate  a  type  face  in  terms  1 2 
HOW  IS  one  to  assess  and  evaluate  a  type  face  in  terms  12 

Mat, IX  ItiUnmtilu.ii     Will  run  ni  90  channel  layout.  Code  word.  ZICLD. 

24  Point.  Two-Letter  (24A36)  Lower  case  alphabet.  233  points.  Figure  1,  .1107;  2  to  0.  .1383 

HOW  IS  one  to  assess  and  evaluate  a  type  fa  12 

HOW  IS  one  to  assess  and  evaluate  a  type  fa  12 

Matrix  InjOrnniiii'n     Will  iiui   in  90  chamiel  layout,  except  figures,  which  will  run  in  advertising  figure  layout  or  in  auxiliary 
magazine.  Smallest  slug  on  which  this  face  will  cast  is  23  point.  Code  word,  ZIFDO. 


-("LINOTYPE"   >- 


LIST   OF   CHARACTERS   AVAli_ABLE    IN    TWO-LETTER    FONTS 

ABCDEFGHIJKLMNOPQRSTUVWXYZ 

ABCDEFGHIJKLMNOPQRSTUVWXYZ 

12345       abcdefghijklmnopqrstuvwxyz       67890 

12345       abcdefghijklmnopqrstuvwxyz       67890 

,.:;?!(])>i^"._/E(E1b&£$...  fiflffffifflaeoe 

,.:;7!(|)*"._;E(Etb&£$  .   ..fiflffffifflaeoe 

>/8   '/4%   •/2  5/8%%  @  %t1:§^-[] 


484 


GOTHIC   NO.  13  with   DE  VINNE   COND. 

«  pMii.t   (s,»,_'(i-l-  l.cuci  I  ..sf  ,,lpli.i!iri,  !n.'  pr-iTii-    liL-iiifv     n'=,.\ 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  estlietic  design?  Why  do  the  pace-m  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-m  1234 

Malrir  I iijfi  iiiuti.ni     Will  run  in  '«)  ili.mnel  layoul.  Cude  word,  KUAN 

]U  I'nint    ili)AI54l  l..iiv,'i   .  .,M-  ;ili.li.ili.-t,   115  points.   l-'iKUies.  .'li.'ij 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  Its  esthetic  design?  Why  do  1 234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  ?  Why  do  1234 

Matiir  hijurmaliii),  :  Will  run  in  yd  cluinnel  lay..ut,   (  .  idf  uord.    KIl.W. 

IJ  I'nint   (12A1"-'I  l.r.ucr  ,  a^c  .ilphahft.   MO  pi.inl,    Fimirc^,    r«1 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  1234 

Mat)  IV  Inluimatwn-  Will  i  un  in  '"1  lIuiuiicI  lajuut.  L.jde  word.  KOHL'. 

I-l  I'oint    II4A-I8)  l,owi-r  case  alidialR-t.  I6Jpuiiils     Figures,    ll'iCiS 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  1 234 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  1234 

,i;.il'Mi    7)11, (iKiation.  Will  run  111  '«).  li.u.nel  l.iyont.  Code  v^o^d     Ki  >(   -i 

(.  .LINOTYPE-") 

LIST   OF   CHARACTERS   AVAILABLE    IN    TWO-LETTER    FONTS 

ABCDEFGHIJKLMNOPQRSTUVWXYZ 

ABCDEFGHIJKLMNOPQRSTUVWXYZ 
12345       abcdefghijklmnopqrstuvwxyz       67890 
12345       abcdefghijklmnopqrstuvwxyz       67890 


..Of/ 
111) .  *  \ 

.  •  V  ?  ^ 

»  •  •  J   •    •  V 


)*"■  —  ;EElb&£$..  fiflffffiffiaeoe 

)*"  =  _/E(Etb&£$  ...titlffffifflajoe 


l/o  v.  3/„  lA  5/„  3/.  7/„        (n)        %  f  J  §  ^  -  [  ] 


''8  ■/4  78  72  78  74  78 

/«  Va  %  Vi  %  % 


I/.  1/  3/,  1/.  sz  3/  7/,       (a)      %  t  i  §  II  -  L  J 


485 


GOTHIC    NO.  13 

8  Point 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE 
DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING 
How  Is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  design 
Is  always  practical  design.  And  what  they  see  in  a 
good  type  design  is,  partly,  its  excellent  practical 
fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  exactly 
the  work  that  the  chair  has  to  do — neither  clumsy 
and  thick,  nor  "skinny"  and  weak — no  waste  of 
material  and  no  lack  of  strength.  And,  beyond  that, 
the  chair  may  have  been  made  by  a  man  who 
worked  out  in  it  his  sense  of  fine  shapes  and 
curves  and  proportions  —  it  may  be,  actually,  a 
work  of  art.  The  same  thing  holds  for  shapes  of 
letters.  And  your  chair,  or  your  letter  (if  a  true 

(uiw  point  leaded) 


FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY 
RAVE  OVER  A  SPECIFIC  FACE  OF  TYPE?  WHAT  DO 
How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  design 
is  always  practical  design.  And  what  they  see  in  a 
good  type  design  is,  partly,  its  excellent  practical 
fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  exactly 
the  work  that  the  chair  has  to  do  —  neither  clumsy 
and  thick,  nor  "skinny"  and  weak — no  waste  of 
material  and  no  lack  of  strength.  And,  beyond  that, 
the  chair  may  have  been  made  by  a  man  who 
worked  out  in  it  his  sense  of  fine  shapes  and 
curves  and  proportions  —  it  may  be,  actually,  a 

i  two  point  leaded) 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
abcdefghijklmnopqrstuvwxyzfiflfffHffI  i234567890($£,.: ;'-'?!*!) 


Matrix  Iniormation  :  Made  in  conibinati 
run  in  90  channel  layout. 


ith  Chehcnham  Bc.ld  Ccmdensed  (8AJ18)  and  De  X'inne  ('(.ndensed   (8A204).  Will 


-("'LINQTYPE"'")- 


10  Point 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESI 
GN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE 


How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  Its  esthetic  design?  Why  do 
the  pace-makers  in  the  art  of  printing  rave 
over  a  specific  face  of  type?  What  do  they 
see  in  it?  Why  is  it  so  superlatively  pleasant 
to  their  eyes?  Good  design  is  always  practi- 
cal design.  And  what  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fit- 
ness to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good  chair 
has  all  of  its  parts  made  nicely  to  the  right 
size  to  do  exactly  the  work  that  the  chair 
has  to  do — neither  clumsy  and  thick,  nor 
"skinny"  and  weak — no  waste  of  material 

{ unc  point  leaded' 


How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design?  Why  do 
the  pace-makers  in  the  art  of  printing  rave 
over  a  specific  face  of  type?  What  do  they 
see  in  it?  Why  is  it  so  superlatively  pleasant 
to  their  eyes?  Good  design  is  always  practi- 
cal design.  And  what  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fit- 
ness to  perform  its  work,  it  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good  chair 
has  all  of  its  parts  made  nicely  to  the  right 
size  to  do  exactly  the  work  that  the  chair 
has  to  do — neither  clumsy  and  thick,  nor 

I  two  point  leaded! 


ABCDEFGH1JKLMN0PQRSTUVWXYZ& 
abcdefghijklmnopqrstuvwxyzfiflffffiffi  I234567890($£,.i;'-'?!  ="!) 

Matrix  Information  :  Made  in  combination  with  Cheltenham  Bold  Condensed    (10A286)   and  De  Vinne  Condensed    (10A154). 
Will  run  in  90  channel  layout. 


486 


GOTHIC    NO.  13 

12  Point 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS 
ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes? 
Good  design  is  always  practical  design.  And  what  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool 
has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do 
exactly  the  work  that  the  chair  has  to  do — neither  clumsy  and  thick,  nor 
"skinny"  and  weak — no  waste  of  material  and  no  lack  of  strength.  And, 
beyond  that,  the  chair  may  have  been  made  by  a  man  who  worked  out  in  it 

I  liner  I'.nnt  leaded) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
abcdefghijklmnopqrstuvwxyzfiflffffiffil234567890($£,.:;'-'?!^!^t) 

Matrix  hiU'i  iiiatu'ii     M^ide  in  cuniliiiiatinii   with   Cheltenliaiii   Bold  Coiiilenseil    (12A24_')    and   lie  Vinne  (  undensed    (12A102). 

Will  rnn  ni  'ID  iliannel  layout. 


("LINOTYPE") 

14  Point 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS 
OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic 
design?  Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a 
specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so  super- 
latively pleasant  to  their  eyes?  Good  design  is  always  practical 
design.  And  what  they  see  in  a  good  type  design  is,  partly,  its  excel- 
lent practical  fitness  to  perform  its  work.  It  has  a  "heft"  and  bal- 
ance in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has. 
Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to 
do  exactly  the  work  that  the  chair  has  to  do — neither  clumsy  and 

Ithree  point  leaded! 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
abcdefghijklmnopqrstuvwxyzfiflffffiffll  234567890  ($£,.:;'-'?!'!) 

Matiij  Infierniatiim  Maile  as  one-letter  n4AfiII.  Lower  case  alplialiet.  Ifil  points.  Figures.  .09f,.S;  coninia,  period  and  thin 
space.  .(WK4.  Kinis  in  '(11  channel  lay.int.  Code  word,  KOl'E.  Also  made  in  combination  with  (  heltenhani  Hold  Condensed 
(14A1J6)  and  De  Viiinc  Condensed  (14A-»8). 


487 


GOTHIC    NO.   13 

18  Point 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of 
its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of 
printing  rave  over  a  specific  face  of  type?  What  do  they  see 
in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good 
design  is  always  practical  design.  And  what  they  see  in  a 


(three  Point  leaded) 


ABGDEFGHIJKLMNOPQRSTUVWXYZ& 
abcdef ghijklmnopqrsluvwxyz  1 234567890($,.:;'-'?!) 

I'liitiue  Capitals 

flccFGKmnsuiv 

Can  be  substituted  for  regular  capitals  in   tunt.  or  urdered  as  an  extra. 

Matrix  hiformation  :  18A65.  Lower  case  alphabet,  180  points.  Figures,  .1107.  Will  run  in  90  channel  layout.  Code  wnrd,  KOEP. 
Also  available  in  two-letter  matrices  as  Gothic  No.  13  with  Cheltenham  Bold  Condensed  (18A36).  Code  word, 
ZICED. 


24  Point 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  T 

How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  th  1234567890  ($,.:;'-'?!) 

(three  point  leaded) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyz 

Ihiique  Capitals 

flccFGKmnsuiv 

Can  be  substituted  for  regular  capitals  in  tOTit.  or  ordered  as  an  extra. 

Matrix  Information :  24A51.  Lower  case  alphabet,  224  points.  Figure  1.  .1107;  2  to  0,  .1383.  Will  run  in  90  channel  layout,  ex- 
cept figures,  which  will  run  in  advertising  figure  layout  nr  in  auxiliary  magazine.  Code  word.  KOIQ.  Also  available  in  two- 
letter  matrices  as  Gothic  No.  13  with  Cheltenham  Bold  Condensed  (24A36).  Code  word,  ZIFDO. 


488 


GOTH  IC    NO.  13 

30  Point 


How  is  one  to  assess  and  evaluate  a  type  face 
in  terms  of  its  esthetic  design?  Why  do  the  pa 
ce-makers  in  the  art  of  printing  abcdefghijk 
Imnopqrstuvwxyz  1234567890  (S,.:;'-'?!) 

(sir  point  leaded) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

flccFGiilnsujv 

Can  be  sul>stituted  ior  regular  capitals  in   font,  or  ordered  as  an  extra. 

Matrix  Information :  30A^9.  Lower  case  alphabet.  235  points.  Figure  1,  .13S3;  2  to  f).  .166.  Will  run  in  ','0  channel  layout,  ex- 
cept tigvires.  whitli  will  run  in  advertising  figure  layout  or  in  auxiliary  niagazine.  ("ode  word.  KONA. 


36  Point 


How  is  one  to  assess  and  evaluate  a 
type  face  in  te  abcdefghijklmnopq 
rstuvwxyz  1234567890  ($,.:^7!) 


(six  point  leaded) 


ABCDEFGHMKLMNOPQRST 

UVWXYZ&  flceFGKmnsuiv 

I  ail  lie  subsiituU-d   Jur  rei^ular  capitals,  in   font,  or  ordered  as  an  e.xtra. 

Matrix  hiforniath'n     .V)A6I.   Lower  case  alphal>et.    M(,  points     Figure  1.   .  U.6  ;  J  to  0.  .1937,  Will  run  in  72  channel  lay-uit:  also 
in  34  channel  auxiliary  inaga/ine;  and  lower  case,  except  in  and  w.  in  cap  channels  of  90  channel  inaga/me.  Lode  word,  KOOR. 


489 


GOTHIC    NO.  13 

48  Point 


HOW  CAN  ONE  ASSESS 
OR  EVALUATE  A  TYPE 


(six  point  leaded) 


ABCDEFGHIJKLMNOP 

QRSTUVWXYZ& 
($,.:;'-'?!)  1234567890 

Matrix  Information:  4SA21.  Caps,  figures  and  points  only.  Figure  1.  .2.151;  2  to  0,  .27fi7.  For  two-line  or  tliree-line  work  on 
Special  Advertising  figure  molds.  Will  run  in  Wide  34  channel  auxiliary  magazine.  Special  alignment.  Code  word,  ZICBO. 


STAR  CEREAL 
FRUIT  JUICE 


De  Luxe  Size 

BREAKFAST 

SPECIAL 


BAR  BRAND       g%  24  oz. 
AH  Flavors  «    Tall 

Latest  Crop        %M    Cans 


URIUIlW  U.  S.  No.  I  Grade  L  lbs.  1 4c 

P0TAT0ESlX4,.19c 

In  tlie  "food  store"  lines  above,  the  upper  two  show  4S  point  <riothic  No.  13  cast  overhanging  uii  a  12  point  slug  from 
5  to  12  point  Special  Advertising  Figure  Mold.  F-2106.  Each  of  the  two  underpinning  12  point  slugs  carries  copy  in 
12  point  Cheltenham  Bold  Condensed.  This  is  an  example  of  three-line  work.  The  two  lower  lines  show  48  point 
Gothic  No.  13  used  in  two-line  work  with  18  point  Gothic  No.  13  on  two  18  point  slugs  cast  from  10  to  18  point 
Special  Advertising  Figure  Mold,  F-6288., 


490 


^APL^ 

GOTH  IC    NO.  13 

42  T'niiit   (.12AlfM(ll   L.iwer  case  aliilialiet.  .iX-4  p.nTit-i.  <  ..ilc  w.ird.  Zh-DIll-; 

FOOD  SHOW  OPENS  WITH 

Many  people  attending  19th 


4X  I'ciiit    USAHWO)   Lower  lase  alplial.et.  4.!S  points.  Code  word.  ZED.TI 


DAILY  OUTPUT  OF  OIL 
Is  up  540  barrels  by  the 


60  I'oiiit  ((.OAKMdl  Lower  case  alphaliet.  ^Sr,  points.  Cock-  woriL  ZKDLU 


CHICAGO  WHEAT 

Higher;  28  in  early 


UNIQUE    CAPS 


BCc 


nceFGKmnsuiv 


FGk 


mns 


HIv 


144  12U  '")fy  72  60  48  42  M>  Mi  24  18 

Made  in  IS.  24.  M).  M>.  42.  48,  60,  72,  96,  120.  and  144  point  sizes  and  may  be  substituted  for  reKular  capitals  in  innt.  ur  ordered 
as  an  extra. 

A-P-L  range  also  includes  8,  10,  12,  14,  18,  24,  30  and  36  point  sizes,  inclusive 


491 


API 


GOTH  IC    NO.  13 

72  Point  (72Ain40)  I.nwer  case  alphabet.  681  points.  Code  word.  ZEDMA 

THE  RECORDS 

In  the  46  games 


96  Point  (96A104n)  Lower  case  alphabet.  906  points.  Code  word.  ZESAM 


BEST  IN  125 
Giving  storm 


120  Point  (120A104n)  I^ower  case  alphabet.  110.^  points.  Code  word.  ZEREZ 


High  Keg  6 


492 


APL 


GOTHIC    NO.   13 

144  I'ciiiit    I144A1040)   Lower  case  allihalii-l.  IJl'J  i)c.uits.  Cude  wind.  /hUlL 

CopFies 
UplSBis 


GOTHIC  NO.  13  TITLE 

72  Pnint  (72AinS0)  Cavs.  tifures  and  points  only.  Code  word,  ZELJE 

GIRL  SAVES  29 

TRAPPED  BY  A 


493 


CENTURY    EXPANDED  with   GOTHIC    NO.  16 


4  Point 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TE 
OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  T 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  es- 
thetic design?  Why  do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  tyiie?  What  do  they  see  in  it?  Why  is 
it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always 
practical  design.  And  what  they  see  in  a  g'ood  type  design  is. 
partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has 
a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  lias  all  of  its  parts  made 
(one  point  leaded) 


HOW    IS   ONE  TO   ASSESS   AND    EVALUATE  A   TYPE    FACE    IN    TE 
OF    ITS    ESTHETIC    DESIGN?    WHY    DO   THE    PACE-MAKERS    IN    T 

How    is  one  to  assess  and   evaluate   a  type   face    in   terms  of    its  es- 
thetic   design?    Why    do    the     pace-makers     in    the    art    of    printing 
rave  over  a  specific  face  of  type?  What  do  they  see   in   it?  Why   is 
it   SO  superlatively   pleasant  to  their  eyes?  Good   design    is  always 
practical    design.    And    what    they    see    in    a    good    type    design    is. 
partly,    its  excellent  practical   fitness  to  perform    its  work.    It  has 
a  "heft"  and   balance   in  all  of  its  parts  just  right  for  its  size,   as 
any    good    tool    has.  Your    good    chair    has    all    of    its    parts    made 
(one  point  leaded) 
AH(.l'Kt<;HMKI.MN(iI'QKSTUVW.\yZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
abcdefghijklmnnp.]!  ■,iu\  w  w/titlinijill   >:?t:..::'-'?!*tt§1 
abcdefghijklmnopqrstuvwxyzfiflffffiffi  ($£,.:;•-•?!*  t  f  §1 

Matrix  Information:  4A2.  Lower  case  alphabet.  78  points.   Figures.  .0484;  comma,  period  and  thin  space.  .0277.   Runs  in  90 
channel  magazine.  Code  word.  ZEPRU. 


-('"'"  LI  NOTYPE""')- 


NO.  6  with   GOTHIC    NO.  16 

43/4  Point 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE 
IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PA 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  es- 
thetic design?  Why  do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is 
it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always 
practical  design.  And  what  they  see  in  a  good  type  design  is, 
partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  Its  parts  made  nicely 
to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do, 
neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of 
(five  point  body) 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE 
IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PA 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  es- 
thetic design?  Why  do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is 
it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always 
practical  design.  And  what  they  see  in  a  good  type  design  is, 
partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely 
to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do, 
neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of 
(fiz-c  point  body) 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGH1JKLMNOPQRSTUVWXYZ& 


abcdefghijklninop<irstuvwxyzfirtffffiffl  '$£,.:; 
abcdefghijklmnopqrstuvwxyzfiflffffifn  ($£,.:; 


Sft  1234567890 
511)  1234567890 


Matrix  Information  :  4KA-.   1-uwer  case  alphabet.   76  pu 
channel  inaRazine.  Code  word.  ZIFK(», 


Figures.  .OS53 :  ccjinnia.  period  and  thin  space.  .0277.  Runs  in  90 


Specimens  showing  4  and  4%  point  GOTHIC  NO.  16  in  use 


Our   Best    C  H  0  R 
COA 


$ 


1 


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ging   when   washed. —  Navy   blue  corduroy   band  collar.    \    ..  ^y^ 

THREE-SEAM    BACK    for    better   fit.    Rustproof    button^'^ 
throughout.    Adjustable   cuffs. 

STRONGLY    REINFORCED  throughout 
Average    length.    31    inches. 

SIZES:    Even    chest    sizes    34    to    48    In.    State    cliest 
measurement.  Shipping  weif^ht,  3  lbs.  3  oz. 

41  x210  — 8  oz.  Indigo  Blue  Denim   Blanket    $  «       SO 

Lined   Chore   Coat ■■JTf 

OUR    FAMOUS    NO.  201    ALSO    REDUCED 
Similar  to  above  but  in  2.20  weight  denim,  not  San- 
forized-Shrunk.     Plain     pockets.     Same     si 
Shipping  weight,  2  lbs.    12  oz. 

41    X  201  —  Plain      Df 
Chore   Coat 


Blanket     Lined 


Here  is  a  Partial  List  of 
States,  Cities  and  Institu- 
tions in  which  GRADUATES 
were  placed  in  positions; 


state  of  Wash. 
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State  of  Ohio 

Duluth,    Minn. 
Detroit,    Mich. 


en,    Utah 
ain  Co..  Ohi 

St.   Paul.   Minn. 

Pittsburgh,   Pa. 

Lincoln,    Nebr. 

Birmingham, 

Calgary,  Alta 


Ala 


El   Paso,  Texas 
Everett.  Wash. 
Schenectady.  N.Y. 
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Bedford,  Ohto 
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Salt  LakeCity.U. 
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Phoen 


cheste 


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Houston. 
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AtlanticCity.N.J 
Globe,   Arizona 
London. Ont., Can 

Okla. 

ish. 


1.35 


Above:  Mail  order  advertisement,  in  4  point  Century  Expanded 
with  Gothic  No.  16,  12  and  18  point  Gothic  No.  16;  10  point  Gothic 
No.  16  Alternative  Figures,  and  Gothic  No.  41  advertising  figures. 
Rules:  6  point  Matrix  Slides  No.  423  and  352. 

Center:  Lost  and  Found  column,  in  444  point  No.  6  with  Gothic 
No.  16. 


\^i^BPrnMF    AN    FYPFRT    Executive  Accountants  and  C 
■^DLUumt    Hn     LArcni    ^^^^   $2,000  to  $10,000   a  year. 
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SAuuUUniAni     16.000    Certified    Public    Account- 
ants  in  the  United  States.  We  train 
you  thoroly  at  home   in  spare  time  for  C.P.A.  examinations 
or  executive  accounting  positions.  Previous  experience  unnec- 
essary. Training   under  the   personal   supervision   of  staff  of 
C.  P.  A.'s.  Write  for  free  book,  *'Accountancy,  the  Profession 
That  Pays." 
POSTAL     ACCOUNTING     SCHOOL,    Ashland,    Ohio 


Media.    Pa. 
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Centralia.  Wash. 
.    Bismarck.    N.    D. 
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Cuyahoga  Falls. O. 
Rock   Island.  III. 
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Pendleton.   Ind. 
St.  Joseph,   Mo. 
State  of   Illinois 

jr   nearest  office  for 


T  GUIDE   BOOK. 


Above:  Magazine  advertisement,  in  4^4  point  Gothic  No. 
16.  and  8  and  14  point  Gothic  Condensed  No.  2.  Rules:  6 
point  Matrix  Slide  No.  423. 


Above:  Part  of  a  magazine 
advertisement,  in  4  point 
Gothic  No.  16  with  8  point 
Gothic  No.  13  display.  Deco- 
ration: 6  point  Matrix 
Slides  404  a  and  b,  and  6 
point  (6A400)  Linotype  Fist, 
Character  No.  S. 


494 


GOTHIC  NO.  16  with  CHELTENHAM    BOLD 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  desi  1234 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  desi  1234 

Miitri.v  lKloi-,iuili„ii     Win   run   im  'JU  thaiiiifl  layout.   I'.Hle  u,,r,l.    Kll/I). 

10  I'oitit   (lOA-X.X)  l,..wc-r  (:l^(•  ;il|ili.ilict.   lr,l    ,„,ints     l-iKurfs.   .OOr.S 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  1234 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  1234 

Muliix  Inloi  iimlioii  :  Will  run  in  '.JIJ  chiiuuel  layout.  (  ode  word.   KUAl'. 

IJ   r t    (IJAJ4-41  l.owfr  cisp  ;ilpli,il.ct,   17t  iioiiits.    Fiuurc";.  .1107 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  1234 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  1234 

Miiliix  hiliiiiiniluii,:   Will   run   m  'JO  channel  layout.  I  ode  uord,  Kl'liO. 

1-1  Point   IMAl.'S)  L.nver  case  .allilialiet.  200  iioints.   Fiirurcs,  .1107 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  1234 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  1234 

;U,I/Mr  InU.,„uili,.n     Will   run   in  '/o  tli.inn.-l   l.iyout.    1  ode  uord.    Kll    I", 

l.S  Point. ']\vo-l.etter  (1HA.M)  Lower  case  alplialief .  Jll   points     Kmures.     1107 

HOW  IS  one  to  assess  and  evaluate  a  type  fa  12 

HOW  IS  one  to  assess  and  evaluate  a  type  fa  12 

Matfix  InjortuatuiH  :  Will  run  in  90  channel  layout.  Wide  figures.  .ISJJ  are  supplied  fur  72  channel  layout  or  tur  advertisiiiK 
figure  layout  of  90  channel  magazine.  19  point  alignment.  Code  word.  ZICDA. 

24  Point.  Two-Letter  (2A^M)  Lower  case  alphabet.  3(t0  points.  Figure  L  .179H;  2  to  0.  .2l)7S 

HOW  IS  one  to  assess  and  evalua  12 

HOW  IS  one  to  assess  and  evalua  1 2 

Matii.v  Iniorntatimi     Will  run  in  72  chaniu-1  layout;  also  lower  case,  except  ni  and  w.   in  cap  chaiuieis  ol  90  thaniiel   numa/iTu- 
with  caps  and  Iiyures  in  i-\  clianuel  auxiliary  tnaga/rine.   2S  p()int   aliginnent.   Code  word.  ZIIIOL. 


(.0  LINOTYPE") 

LIST   OF   CHARACTERS   AVAILABLE    IN    TWO-LETTER    FONTS 

ABCDEFGHIJKLMNOPQRSTUVWXYZ 

ABCDEFGHIJKLMNOPQRSTUVWXYZ 
12345      abcdefghijklmnopqrstuvwxyz      67890 

12345       abcdefghijklmnopqrstuvwxyz        67890 
,.:;?!()**'--  /E  CE  lb  &  £  $  .      f  i  f  I  ff  ff  i  ff  I  ae  oe 

,.:;?!()*"--/E(Ett)&£$       .fiflffffifflaeoe 

Vs  V4  ys  V2  %  3/4  %     @     %  1 1  §  n  -  [  ] 

Vs  'A  Ys  Vz  %  VaVs      @      %  t  I  §  H  -  [  ] 


495 


GOTHIC  NO.  16  with  TITLE  NO.  4 

8  Point  (8A206)  Lower  case  alphabet,  136  points.  Figures.  .083 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  d  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  d  1 234 

Matrix  Intoiiiialwn:  Will  run  in  90  cliannel  layout.  Code  word,  KUDY. 

in  I'nint  (10A156)  Lower  case  alpliabet.  163  points.  Figures.  .0968 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  In  terms  of  it  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  it  1 234 

Matrix  Injormativn  :  Will  run  in  90  channel  lay<nit.  Code  word.  Kl_'EX. 

12  Point  {12A104)  Lower  case  alphabet.  180  points.  Figures,  .1107 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  ter  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  ter  1234 

Matrix  Information :  Will  run  in  90  channel  layout.  Code  word.  KIMR. 


14  Point   (14A50) 


Lower  case  alphabet,  216  points.  Figures,  .1107 


HOW  IS  ONE  to  assess  and  evaluate  a  type  fa  1234 

HOW  IS  ONE  to  assess  and  evaluate  a  type  fa  1234 


Matrix  Information  :  Will  run  in  90  channel  layout.  Code  word.  KUIZ. 


-("    LINOTYPE"«> 


LIST   OF   CHARACTERS   AVAILABLE    IN    TWO-LETTER    FONTS 

ABCDEFGHIJKLMNOPQRSTUVWXYZ 

ABCDEFGHIJKLIMNOPQRSTUVWXYZ 

12345      abcdefghijklmnopqrstuvwxyz      67890 

12345       abcdefghijklmnopqrstuvwxyz       67890 

,.:;?!(     )^''--/ECE1b&£$.      fiflffffifflaeoe 

,.:;?!(     )*''--/E(ETb&£$         fiflffffifflaeoe 

Vs  V4  Vs  V2  Vs  VaVs       @       fo  t  t  §  ^  -  [  ] 

Vs  'A  %  Vz  %  y4  Vs    @    ;i  1 1  §  II  -  [  ] 


496 


GOTH  IC    NO.   16 


8  Point 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ES 
THETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RA 


How  is  one  to  assess  and  evaluate  a 
type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  to 
their  eyes?  Good  design  is  always 
practical  design.  And  what  they  see  in 
a  good  type  design  is,  partly,  its  ex- 
cellent practical  fitness  to  perform  its 
work.  It  has  a  "heft"  and  balance  in 
all  of  its  parts  just  right  for  its  size, 
as  any  good  tool  has.  Your  good  chair 
has  all  of  its  parts  made  nicely  to  the 
right  size  to  do  exactly  the  work  that 
the  chair  has  to  do — neither  clumsy 
and  thick,  nor  "skinny"  and  weak — 


How  is  one  to  assess  and  evaluate  a 
type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  to 
their  eyes?  Good  design  is  always 
practical  design.  And  what  they  see  in 
a  good  type  design  is,  partly,  its  ex- 
cellent practical  fitness  to  perform  its 
work.  It  has  a  "heft"  and  balance  in 
all  of  its  parts  just  right  for  its  size, 
as  any  good  tool  has.  Your  good  chair 
has  all  of  its  parts  made  nicely  to  the 
right  size  to  do  exactly  the  work  that 

(  nf.:  I'. ■ml    llfldfjl 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
abcdef ghi jklmnopqrstuvwxyzfiflffffiff I  1234567890  ($£,.:;'-'?!*  t ) 


uitivi-  iharacUi  : 

G  a  g  t  u 


ii.uil  ,)/.,. ;v.  ,i,ui  II, ,H,, 

1234567890 


Mill  1 1 
mpI  l.r 


ith   I   hclteiili.-im    I'n.ld    IXA.iJ 


111  with    I  [lie  No.  -4   (SA-'I'.l.   VN'ill 


-("LINOTYPE     )- 


10  Point  (One-Lottor) 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TER 
MS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN 


How  is  one  to  assess  and  eval- 
uate a  type  face  in  terms  of  its 
esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  print- 
ing rave  over  a  specific  face  of 
type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleas- 
ant to  their  eyes?  Good  design 
is  always  practical  design.  And 
what  they  see  in  a  good  type 
design  is,  partly,  its  excellent 
practical  fitness  to  perform  its 
work.  It  has  a  "heft''  and  bal- 

I  oHf  point  li-adi'd) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
abcdef  ghijklmnopqrstuvwxyzfiflffffiffi  1234567890  ( $£,.: 

Allri  null?;    lu/iii,'^.    lt')l,>i 

1234567890 


How  is  one  to  assess  and  eval- 
uate a  type  face  in  terms  of  its 
esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  print- 
ing rave  over  a  specific  face  of 
type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleas- 
ant to  their  eyes?  Good  design 
is  always  practical  design.  And 
what  they  see  in  a  good  type 
design  is,  partly,  its  excellent 
practical  fitness  to  perform  its 


ntvo  fuint  l,\ulrdl 


■'.»^I    * 


t) 


Mali, I    Inloimnli.n 
ZAYIK.    Also  in.iilc 


HlAl.iO.    1.1 
ri  ...iiil.in.ili 


i.isi-   alphalu-f.    li,i    |.. 
Mill  (  llclti-nli:nii    Hold 


ilh  • 


.    Will    run   111   ';«) 
itle  No.  A   IIIIAIS' 


haiiiifl   layout.    (Vide 


497 


GOTHIC    NO.  16 

12  Point  (One-Letter) 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE 
IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PA 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of 
its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of 
printing  rave  over  a  specific  face  of  type?  What  do  they 
see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes? 
Good  design  is  always  practical  design.  And  what  they  see 
in  a  good  type  design  is,  partly,  its  excellent  practical  fit- 
ness to  perform  its  work.  It  has  a  ''heft"  and  balance  in  all 
of  its  parts  just  right  for  its  size,  as  any  good  tool  has. 
Your  good  chair  has  all  of  its  1234567890 ($£,.: ;'-'?!  *t ) 


(three  point  leaded) 

ABCDEFGHIJKLIViNOPQRSTUVWXYZ& 
abcdefghijklmnopqrstuvwxyzfiflffffiffi 

Alli-riuili^;-  liquirt,   .1107 

1 234567890 

Matrix  Informatii)}! :  12A163.   Lower  case  alphabet,    180  pciints.    Figures.   .1107.   Will   run   in  90  channel   layout.   Code   word, 
ZAYIR.  ."ilso  niaile  in  combination  with  Cheltenham  Bold   (12A244)   and  with  Title  No.  A   (12A10'1). 


(moiLINOTYPE""0 

14  Point  (One-Letter) 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TV 
PE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN? 
How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  design 
is  always  practical  design.  And  what  they  see  in  a 
good  type  design  is,  par  1234567890  ($£,.:;'-'?!  *t) 

Ithifi-  ptniit  leaded) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
abcdefghijklmnopqrstuvwxyzfiflffffiffi 

A'.trrnatk;-  fi'nir,-s.  .1107 

1234567890 

Matrix  Information :  14A119.  Lower  case  alphabet,  216  points.  Figures,  .1107.  Will  run  in  90  channel  layout.  Code  word, 
ZAYJA.  Also  made  in  combination  with  Cheltenham  Bold  (14A138)  and  with  Title  No.  4  {14AS0). 


498 


GOTHIC    NO.   16 

18  Point 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A 
How  is  one  to  assess  and  evaluate  a  type  fa 
ce  in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over 
a  specific  face  of  type?  What  do  they  see  in 
it?  Why  is  it  so  superlativ  1234567890($,.: ;'-'?!) 


I'.nul  l,:,d.d) 


ABCDEFGHIJKLIVINOPQRSTUVWXYZ& 
abcdefghijklmnopqrstuvwxyz 

AlU-ntalivr  iluir,nl,-ii  liiscd  aho-.'c  I  ami  fiaiii,-s 

Gagtu  1234567890 

(I'iuiHf  I.  .1 1(17:  2  to  II.  .Iw,) 
Matrix   InUnmiilion  :   IXA17'J.    I.nui-r   i.,s,.   ;iliili;il„-l .    J  1-1   p.. nil-..    l-:mires.    .1107.    Will    nin    ui   'III  ih.iinicl    l.-iy.im.    Wide   fiKUres 
(.17'ini  .ire  ^iipiilied  f..r  72  cli.iniiel  l.iy..ut,   I'l  p..int  .iliwrniieiil .  (  ..lie  u.jril.  Kl'l  IS.  Also  available  in  two-letter  matrices  as 
Gothic  No.  16  with  Cheltenham  Bold  (  18     34).  Code  word,  ZICDA. 


-(■.«  LINOTYPE"  "> 
34  Point 


HOW  IS  ONE  TO  ASSESS  AND  E 
How  is  one  to  assess  and  evaluate  a 
type  face  in  terms  of  its  estlietic  des 
ign?  Wliy  do  tli  abcdefgliijl(imnopq 
rstuvwxyz  1234567890  ($,.:;'-'?!) 

(lour  foint  leaded) 

ABCDEFGHIJKLMNOPQ 
RSTUVWXYZ& 

All,  ii,att;-e  eliaia,  tci  s  ,  used  above  }  and  fiijiires 

Gagtu  1234567890 

(Figure  1.  .1.183;  2  to  0.  .2144) 

Matrix  Informatioy  :  34A1'!9.  Lower  c.ise  .llplialiet.  .10."!  p.iinls.  KiKures.  .207.1.  Will  run  in  7J  iliiiiiiiel  l.iyniit ;  also  ill  ,14  chan- 
nel au,\iliary  iiiaHa/iTie  ;  ami  lower  c.'tse.  except  in  ami  w.  in  cap  channels  00  channel  inaiia/iiie.  2?  point  ali.tinnient.  Coiie  wnrii, 
KUP.A  Also  available  in  two-letter  matrices  as  Gothic  No.  16  with  Cheltenham  Bold  (24A34).  Code  word, 
ZIHOL, 


499 


GOTHIC    NO.  16 

30  Point 


3U  foint 

How  is  one  to  assess  and  eva 
lu  abcdefghijklmnopqrstuvw 
xyz  1234567890  ($,.:;'-7!) 

(SI.V  puint  U-iided) 

ABCDEFGHIJKLMNOP 
QRSTUVWXYZ& 


Alternative  characters  (used  above)  and  figures: 


Gagtu 1234567890 

(Figure  1.  .1729;  2  to  0.  .2698) 

Matrix  Information :  30A93.  Lower  case  alphabet,  373  points.  Figures.  .249.  Will  run  in  Wide  72  channel  magazine;  also  lower 
case  ill  cap  channels  of  72  channel  magazine  with  caps  and  figures  in  Wide  34  channel  auxiliary  magazine.  Code  word.  KUQE. 


-(""LINDTYPE""')- 
36  Point 


How  is  0  abcdefghijkimn 
opqrstuvwxyz  $12345 


(six  point  leaded) 


ABCDEFGHIJKLMNO 
PQRSTUVWXYZ& 


Alteynative  chuiactrrs  and  figur 


Gagtu 1234567890 

(Figure  1.  .207S;  2  to  0,  .315) 

Matrix  Iiifoi'ination  :  36A59,  Lower  case  alphabet.  424  points.  Figures.  .315;  .249  figures  are  supplied  for  Wide  72  channel  mag- 
azine. Will  run  in  Wide  72  channel  magazine  and  in  Wide  34  channel  auxiliary  magazine.  Code  word.  KURl. 


500 


GOTHIC  NO.  16 

(ONE-LETTER) 

FOR  EFFECTIVE   FOOD  STORE   DISPLAY 


CANTALOUPES  fancy  ma.ne  3  for19c 
NEW  POTATOES  l  .  15pou„<.s23c 


SWISS  CHEESE  ^::^X.  19c 


RYE  BREAD 
Mayonnaise, 
Sliced  Bacon, 


Hogarth's  Bakery         T ^^ 
Large,  Fresh,  Loaf        #C 

3lue  Star     X   jars   ^  I  C 

Smith's   1  lb.  pkg.  1  dC 


PRUNE  JUICE, qt.bot. 23c 
CELERY  HEARTS,  bch.  7c 


Ripe  Olives 


Fresh  California 
Crop,  large  size  Jar 


18c 


Print  Butter  ?°:^lme?;°Po?n;  29c 


Three  sizes  of  one-letter  matrices -10,  12 
and  14  point— are  available  in  the  Gothic 
No.  16  series,  as  an  aid  to  those  newspaper 
and  commercial  plants  which  produce  a  vol- 
ume of  food  store  and  other  emphatic  price 
display  advertising. 

The  virtue  of  the  one-letter  matrix  is  that 
when  the  line  is  raised  to  the  auxiliary  posi- 
tion the  matrices  become  spaces,  and  auto- 
matically space  and  justify  the  line  for  the 
second  cast  in  overhanging  matter,  without 
the  need  to  stop,  figure  out  spacing  justifica- 
tions, and  lose  productive  keyboard  time. 

RYE  BREAD    ""^^^-^'^^ "-    7c 

The  operator  merely  sets  the  copy  in  the 
regular  way,  setting  (in  the  example  above, 
as  a  typical  instance)  the  first  line  of  the  copy 


on  a  5  point  slug,  overhanging,  using  an  Ad- 
vertising Figure  Mold. 

Then  he  sets  the  line  over  again,  inserting 
words,  "Large,  Fresh,  Loaf"  between  "RYE 
BREAD"  and  the  price,  raises  the  Gothic 
No.  16  characters  to  the  auxiliary  position- 
where  they  cast  blank— and  sends  the  line 

through.  This  is  what  he  gets:    Large,  Fresh,  Loaf 

In  less  time  than  it  takes  to  read  this,  he 
combines  the  lines  to  get: 

DVF      DDF  An         Hogarth's  Bakery         ^_ 
nit      DRKMl/        Large,  Fresh.  Loaf       /C 

Obviously  with  three  sizes  of  Gothic  No.  16, 
the  subordinate  lines  can  be  set  in  5  point  or 
51/2  point.  He  can  vary  his  effect  by  using 
Gothic  No.  16  caps  only,  or  caps  and  lower 
case,  as  in  the  alternative  specimen  showings 
above. 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyz  1234567890 ($£,.:;'-'?!  ) 


10  Point  (u.thit  No.  16  (Otie-I.etter)   10A1J9 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
abcdefghijklmnopqrstuvwxyz  1234567890  ($£,.: ;'-'?!  ) 


I'.. II, I  (,..tiii,  \. 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
abcdefghijklmnopqrstuvwxyz  1234567890  ($£,.:;'-'?! ) 


M  I'omt  Ui.tluc  Nu.  lb  (One-Ltt;er)  HA119 


501 


GOTHIC    NO.  38 

10  Point  (One-Letter) 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant 
to  their  eyes?  Good  design  is  always  practical  design.  And  what  they 
see  in  a  good  type  design  is,  partly,  its  excellent  practical  fitness  to  per- 

f  t7V0  point  leaded ) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&, 
abcdefghijklmnopqrstuvwxyzfiflffffiffi  1234567890($£,.:;'-'?!-) 

Matrix  Injarmation :  10A115.  Lower  case  alphabet.  152  pniiits.  Figures,  .069J.  Will  run  in  '.."i)  channel  layout.  t."oiie  word, 
LA  WO. 


-("°  LINOTYPE"  ■> 


12  Point  (One-Letter) 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  I 
How  is  one  to  assess  and  evaluate  a  type  face  In  terms  of  its 
esthetic  design?  Why  do  the  pace-makers  in  the  art  of  print- 
ing rave  over  a  specific  face  of  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design 


'  p:nnl  li-adcdl 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
abcdefghijklmnopqrstuvwxyzfiflffffiffi   1234567890($£,.:  ;'-'?!*) 


l\latrix    Into 
LAXU. 


lJAl-9.    1-ower  case   all'liahet.    175   points.    Figures.    .()«.!.    Will    run    m   *J()  channel    layout.    Code   word. 


-C'n  LINOTYPE""'> 


14  Point  (One-Letter) 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE 
How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  t  1234567890 ($£,.:; *-'?!*) 

ABCDEFGHIJKLIVINOPQRSTUVWXYZ& 
abcdefghijklmnopqrstuvwxyzfiflffffiffi 

Allrriiatii-c  fiainrs  : 

1234567890 

Figure  1.  .083;  2  to  0.  Abb.  Will  run  in  advertising  tigure  layout  or  auxiliiiry  magazine. 

Matrix  Injormatmn  \A/\i^7.  Lower  case  alphabet,  222  points.  Figures,  .1107.  Will  run  in  ^0  thannel  layout.  15  point  align- 
ment. Code  w..rd.  I. AYR. 


502 


GOTHIC    NO.  38 

18  Point 

HOW  IS  ONE  TO  ASSESS  AND  EVA 
How  is  one  to  assess  and  evaluate  a  ty 
pe  face  in  terms  of  its  esthetic  design? 
Wliy  do  the  pace-makers  in  the  art  of  pr 
inting  rave  over  a  specific  face  of  type? 
What  do  they  see  in  it?  Why  is  it  so  su 
perlatively  pleasant  to  the  abcdefghijkim 
nopqrstuvwxyz  1234567890  ($,.:;'-'?!) 


I  (.i»i  roinl  leaded  I 


ABCDEFGHIJKLMNOPQRS 
TUVWXYZ& 

Matrix  hifiinn,itii;,  IXA^^l  l.n«er  lase  iilpli.ilict .  .'',.'  point-,  Imurc  1.  .1107:  J  tn  0.  .1W7.  Will  run  in  72  channel  layout: 
also  in  -M  (.liannel  auxili;iiy  nia^a/iiie.  .mil  lower  i.ise  in  i  .ip  ilianneN  '")  illannel  niaga/ine.  1''  point  altRtiiiient.  (ode  wftnl, 
LAVZ. 


-('"LINOTYPE  »>> 
34  Point 


HOW  IS  ONE  TO  ASSESS  AN 
How  is  one  to  assess  and  evalua 
te  a  type  face  in  terms  of  its  esth 
etic  design?  Why  do  the  pace-m 
akers  in  the  abcdefghijklmnopqrs 
tuvwxyz  1234567890  (,-:;'-'?!) 

I  in,,,    /.,,,!,/   leaded! 

ABCDEFGHIJKLMNOPQRS 
TUVWXYZ& 

Mnflix  h,l„rmafi,'n  -MA-'IS.  I  ,,wer  La^e  alphabet,  IJ.l  points.  l-iKUre  1.  .I_M.S:  .'  to  II.  ._•)').  Will  run  in  Wide  /.'  ehannel  maga- 
zine: also  l.iwer  t.ise  in  lap  ihannels  o(  7J  ihaiLiiel  niaga/ine  with  caps  and  figures  in  Wide  M  i  haiincl  auxiliary  magazine. 
Code  Word.  LAZY. 


503 


GOTHIC   CONDENSED   N  O.  1 

8  Point  (XAfiOl  Lower  case  alphabet.  99  points.  Figures.  .0622 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design.  Why  do  the  pace-ma  1234 

Maliix  hiffi  inutiuit:  Will  run  iii  911  channel  layout.  Code  word.  ZIMOI). 

Ill  Point  (10Afi91  T^nwer  case  alphahet.  122  points.  Figures,  .083 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  Its  esthetic  design.  Why  1 234 

Matrix  Injorniativii .  W  ill  run  in  90  channel  layout.  Code  wt.rd.  ZI.MUK. 

11  Point  (11A17I  Lower  case  aliihabef,  135  points.  Figures.  .084 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  1234 

MatiLx  liiU'iiiinlicu     Will  run  m  90  channel  lay,,ut.  Code  word.  ZI.\1(1K. 

12  Point  (12A13)  Lower  case  alphabet.  149  points.  Figures,  .091 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  es  1234 

Mutin-  [nl.niiuition  .  Will  run  m  90  channel  layout.  Code  word,  ZIMPE. 

14  Point  (HA."-)  Lower  case  alphabet.  166  points.  Figures.  .0968 


HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  o  1234 

Matnx  InfiniiHituin  .  Will  run  in  90  channel  layout.  Lode  word.  ZlMKl. 

18  Point  n.SA.ni  Lower  case  alphabet,  169  points.  Figures.  .1107 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  term  1234 


Matrix  Injvrmatiuii .  Will  run  in  9i)  channel  layout.  Code  word.  LEAM. 


LIST   OF   CHARACTERS   AVAILABLE    IN    FONT 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

12345      abcdefghijklmnopqrstuvwxyz      67890 

$  £  . . : :  -  "  ?  !  —   /E  d  se  oe  .  . .  ( )  @  rt)  *  1 1:  §  II  fi  fl  ff  ff I  ffl 

VS  1/4  %  1/2  %  3/4  % 


-(  "LINOTYPE" "> 


COMBINATIONS   WITH    GOTHIC    CONDENSED    NO.   1 

10  Point  Gothic  .\.i.  .1  with   11   P.iiiit  (L.tliic  Condensed  No.  1    (lOAlOiJ  L..wer  case  alphabet,  1.^8  imints,   Fiffures.  .083 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  Its  esthetic  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  1234 

Matrix  Injarmatiun:  Will  run  in  90  channel  lay.ut.  Code  word,  KIUZ, 

12  Point  Gothic  No.  S  with  Gothic  Condensed  No.  1  (12A.TO1  Lower  case  alphabet.  148  points.  FiKures.  .091 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esth  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esth  1 234 

Matrix  ln}o>''>'^li'->"  ■  Will  run  in  9U  channel  layuut.  Lude  word.  KIVE. 


504 


GOTHIC    CONDENSED   NO.  2 


6  Point  (Onc-Lcttcr) 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  es- 
thetic design?  Why  do  the  pace-makers  In  the  art  of  printing  rave 
over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  design  is  always  practi- 
cal design.  And  what  they  see  in  a  good  type  design  is,  partly,  Its 
excellent  practical  fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  si2e,  as  any  good  tool 
has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right 
size  to  do  exactly  the  work  that  the  chair  has  to  do— neither  clumsy 
and  thick,  nor  "skinny"  and  weak  —  no  waste  of  material  and  no 
lack  of  strength.  And,  beyond  that,  the  chair  may  have  been  made 
by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and  curves 
and  proportions — it  may  be,  actually,  a  work  of  art.  The  same  thing 
holds  for  shapes  of  letters.  And  your  chair,  or  your  letter  (if  a  true 
artist  made  It)  will  have,  besides  Its  good  looks,  a  suitability  to 
the  nth  degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That  ex- 
plains, in  a  way,  why  the  experts  rave  over  the  fine  shapes  of  let- 
ters; but  it  fails  to  explain  wherein  the  shapes  are  fine.  If  you  seek 
to  go  further  with  the  inquiry,  theories  will  be  your  only  answer. 
Here  is  a  theory  that  the  proponent  thinks  may  have  sense  in  it: 
Fine  type  letters  were,  in  the  first  place,  copies  of  fine  written  let- 
ters. Fine  written  letters  were  fine  because  they  were  produced  in 
the  most  direct  and  simple  way  by  a  tool  in  the  hands  of  a  person 
expert  in  its  use — by  a  person,  moreover,  who  was  an  artist  (i.e.,  a 
person  equipped  to  make  sound  judgments  about  lines,  curves,  pro- 

"n<-  /..nnl  leaded  < 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
abcdefghijklmnopqrstuvwxyztiflffffiffi  1234567890($£,.:;'-'?!*t) 


8  Point  (One-Letter) 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TER 
How  Is  ofie  to  assess  and  evaluate  a  type  face  In  terms  ot  Its 
esthetic  design?  Why  do  the  pace-makers  In  the  art  ot  printing 
rave  over  a  specltic  tace  of  type?  What  do  they  see  In  It?  Why 
Is  It  so  superlatively  pleasant  to  their  eyes?  Good  design  Is  al- 
ways practical  design.  And  what  they  see  In  a  good  type  design 
is,  partly,  Its  excellent  practical  fitness  to  perform  Its  worl<.  It 
has  a  "heft"  and  balance  In  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good  chair  has  all  of  Its  parts 
made  nicely  to  the  right  size  to  do  exactly  the  work  that  the 
chair  has  to  do— neither  clumsy  and  thick,  nor  "skinny"  and 
weak— no  waste  of  material  and  no  lack  ot  strength.  And,  be- 
yond that,  the  chair  may  have  been  made  by  a  man  who  worked 
out  In  it  his  sense  of  fine  shapes  and  curves  and  proportions- 
it  may  be,  actually,  a  work  of  art.  The  same  thing  holds  tor 
shapes  of  letters.  And  your  chair,  or  your  letter  (it  a  true  artist 
made  It)  will  have,  besides  Its  good  looks,  a  suitability  to  the 
nth  degree  to  be  sat  In,  or  stamped  on  paper  and  read.  That  ex- 
plains. In  a  way,  why  the  experts  rave  over  the  fine  shapes  of 
letters:  but  It  talis  to  explain  wherein  the  shapes  are  tine.  If 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
abcdefghliklmnopqrstuvwxyzflflffffiffll  234567890  ($£,.:;'-'?  !*t) 


Matrix  Inf„n, 
Figures.  .041.^ 
LF.OX. 


itinit:  f,A5,1.    Lower   i;ise  alphabet,   7.1   i«)iiits. 
Will    run   in   90  channel    layf)Ut     ("ode   worfl. 


Matii.r  Information:  SAW.    I  .ow 
Figures.    .0484.    Will    run    in   9n 

I, En. 


hannel   Layout,    ("odt 


polTltS. 

word. 


-(""LINOTYPE'    > 


10  Point  (One-Letter) 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Wtiy  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  of  type?  What  do 
they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design.  And  what 
they  see  in  a  good  type  design  is,  partly,  its  excellent 
practical  fitness  to  perform  its  work,  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as  any 
good  tool  has.  Your  good  chair  has  all  of  its  parts  made 
nicely  to  the  right  size  to  do  exactly  the  work  that  the 
chair  has  to  do— neither  clumsy  and  thick,  nor  "skinny" 
and  weak— no  waste  of  material  and  no  lack  of  strength. 
And,  beyond  that,  the  chair  may  have  been  made  by  a 
man  who  worked  out  in  it  his  sense  of  fine  shapes  and 
curves  and  proportions— it  may  be,  act  (S£,.:;'-'?!*t) 

i/H',.  f',.u:l  ii'adi-d) 

ABCDEFGHIJKLMNGPQRSTUVWXYZ& 
abcdefghijklmnopqrstuvwxyzfiflffffiffi  1 234567890 


12  Point  (One-Letter) 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE 
How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Wtiy  do  tiie  pace- 
makers in  ttie  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  design  is 
always  practical  design.  And  what  they  see  in  a  good 
type  design  is,  partly,  its  excellent  practical  fitness 
to  perform  its  work.  H  has  a  "heft"  and  balance  in 
all  of  its  parts  just  right  for  its  size,  as  any  good  tool 
has.  Your  good  chair  has  all  of  its  parts  made  nicely 
to  the  right  size  to  do  exactly  the  work  that  the  chair 
hasto  do— neither  1234567890($£,.:;'-'?!*t) 


(tzvo  point  leaded  J 


ABCDEFGHIJKLMNOP0RSTUVWXYZ&, 
alicdefghijklmnopqrstuvwxyzfiflffffiffi 


Main,,    1 

Htiii  inatuni      1I)A41. 

Lower  case  all 

hal.et 

.S7  points. 

Matrix  Intorniatlitn  ■    IJA 

Figtires. 

.()S,S3.    Will    run    in 

90  rhaunel    laj 

out. 

"ode   word. 

Figures.    .n(,92.    Will    run 

LKOO 

I.KIUL 

ver  case  alphabet.  96  points. 
cliaimel   layout.    Code  word. 


The  6,  8y  10,  12  and  14  point  sizes  are  also  available  in  A-P-L  matrices 


505 


GOTHIC    CONDENSED   NO.  2 

14  Point  (Ono-Letter) 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  estlietic  design  ?  Wliy  do  tlie 
pace-mal(ers  in  tlie  art  of  printing  rave  over  a  specific  face  of  type  ?  What  do  they  see  in 
it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  practical 

I  tliiL-r  puinl  IcadctI  ' 

ABCDEFGHIJKLMNOPgRSTUVWXYZ& 
abcdefghijklmnopqrstuvwxyzfiflffffiffll23456789G($£,.:;'-'?!n) 

Matrix  Injaimation:  14A3.  Lower  case  alphabet,  118  points.  Fittures.  .08,1.  Will  run  in  90  channel  layout,  ("cule  word,  LESY. 


-(""'LINOTYPE""> 


18  Point 

HOW  IS  ONE  TO  ASSESS  ANO  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ES 
How  Is  one  to  assess  and  evaluate  a  type  face  in  terms  of  Its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  It  so  superlatively  pleasant  to 


Ithiir  l^.nnt  l,ad,-d  I 


ABGDEFGHIJKLMNOPQRSTUVWXYZ& 
abc(lefghi|klmnopqr$tuvwxyz1234567890($,.:;'-'?!) 

Matrix  hiioriiiiition  :  18A1.   I  owei   ins.-  .<Iiili,ihet,   HO  point-;     FiKiirp^,    O.S'J')    Will  rim  in  «n  channel  layout,   (ode  word,  T,ETA, 


(      L'NOTYPE    ») 

34  Point 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its 
esthetic  desip?  Why  do  the  pace-makers  in  the  art  of  print 


I  (.'IK-  point  U-adctI  I 


ABGDEFGHIJKLMNOPQRSTUVWXYZ& 
abcdefghijklmnopqrstuvwxyz  1 234567890($,.!;'-'?!) 

Matrix  hiU"  iiioliuti    2-lA-l,  Lower  case  alphabet,  169  points.  Figures,  ,110,  Will  run  in  90  channel  layout.  Lode  word.  LEUR. 


506 


GOTHIC   CONDENSED   NO.  2 

30  Point 

How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  ot  its  estlietic  design?  Wliy  do  tiie  pace-ma 
l(ers  in  tlie  art  of  printing  rave  over  a  s  ($,.: ;'-'?!) 

ABCDEFGHiJKLMNOP(]RSTUVWXYZ& 

al)cdefgl)ijl(lmnopqrstuvwxyz 

1234567890    1234567890 

Rrtjulay  ficiinrs,  .112  Altci  native  figures.  .1452 

Matri.r  Ivformalinii .  lOA.l  I.mver  case  alpliahet,  .'08  puiiits,  KiKure^,  .\]2.  Will  nm  in  90  channel  layiml.  Wide  fiHures  (.152) 
are  supplied  for  72  tiiannel  layfjnt.  (  uile  wnid,  I.EUZ- 


-(,p».c  LINOTYPE"  "> 
36  Point 


How  is  one  to  assess  and  evaluate  a  type  face 
in  terms  of  its  esthetic  desip?  Wliy  do  the  pa 
ce-makersintheartofprl23ra90(l:;-?!) 


(.w.v  f'ii't  IcaJrd ) 


ABCDEFGHIIK1MN0PQR$TUVWXYZ& 

aMefghijklmnopqrstuvwxyz 

Matri.r  hilornialion :  36/\2.f.    Lower  rase  alphatiel.    22li   poi^t^,    l-'iKures.   .111)7.   Will   rnn   in  ')0  cli.innel    lavont.    Wide   tiKures 
(.1591)  are  supplied  f.ir  72  ilianiul  layout.  Code  word.  LEVE. 


507 


GOTHIC    CONDENSED   NO.  2 

43  Point 

HOW  IS  ONE  TO  ASSESS  AND  EVAL 
UATE  A  TYPE  FACE  IN  TERMS  OF  IT 
S  ESTHET1 1234567890  ($•;'■'?!) 


{six  point  leaded) 


ABCDEFGHIJKLMNOPQRSTUVWXYZ 

Matrix-  Information :  42A27.  Caps,  fipiircs  and  points  only.  Figure  1.  .1522;  2  to  0.  .1937.  Will  run  in  72  channel  layout;  also 
in  34  channel  auxiliary  magazine.  Smallest  slug  on  which  this  face  will  cast  is  36  point.  Code  word.  LEWI. 


(w  LINOTYPE""") 

GOTHIC   CONDENSED   NO.  4 

30  Point 

HOW  ISONETO  MSS  AND[VA[UATEATYPEFAC[  IN  TERMS 
OF  IIS  ESIHEIIC  DESIGN?  1!  DO  THE  PACE-MAKERS  IN  1 12 

Matrix  Information:  30A181.  Caps,  figures  and  points  only.   Figures.  .1107.  Will  run  in  90  channel  layout.   Smallest  slug  on 
which  this  face  will  cast  is  26  point.  Code  word,  ZELAC. 


42  Point 


[ 


Matrix  Information :  42A2S.  Caps,  figures  and  points  only.  Figures,  .1383.  Will  run  in  90  channel  layout,  except  figures, 
which  run  in  advertising  figure  layout  or  in  auxiliary  magazine.  Smallest  slug  on  which  this  face  will  cast  is  36  point. 
Code  word.  ZEKDO. 


508 


GOTHIC    CONDENSED   NO.  3 


20  roiiit   (20A27) 


Caps,  ("iiiiirus  ami  p..inls  r.iily.   Fikihi'S.  JOS 


HOW  IS  ONE  TO  ASSESS  ANO  EVALUATE  A  TYPE  FACE  IN  T 12 

Matrix  Informatkni  Will  iiiii  ni  '111  tliaiiiifl  lay. an.  Smallest  slug  .m  whuh  this  fate  will  east  is  20  iini.it.  Cidc  wiird.  ZESr'E. 
(Ncite:  This  20  ixiiiit  is  precisely  the  same  wciKlit  anil  character  width  as  the  20  point  (20A1).  shown  liel.iw.  It  is  decideilly 
useful  lor  jump  heads,  where  it  is  desired  to  run  the  same  heads  on  inside  pages  without  rewriting  copy,  I 


24  r.iiiit    (24A-^''> 


ajjs,  figures  and  pmiits  only.   Figures.  .O'l^.S 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  12 

Matrix  Injormation     Will  run  in  90  channel  layout,  25  point  aligninent,  .Smallest  slug  on  which  this  laiic  will  cast  is  24  point. 
Code  word.  ZEYVA, 


28  Point  (28AS) 


Caps,  figures  and  points  only.  Figure'^,    lo(J 


HOW  IS  ONE  TO  ASSESS  AID  EVALUATE  A  TYPE  FACE  INT  12 

Matrix  Jnformation  .  Will  run  in  90  channel  laymit.  SnialU-st  slug  on  which  this  face  will  cast  is  28  point.  Code  word.  ZEZFI. 
30  Point   (JOAl)  Caps.  flRure-^  and  pmnts  only     Fi^nre^.  .10? 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  INT  12 

Matrix  Iiinoii'ation     Will  run  in  'lO  channel  layout.   Smallest  slug  on  which  this  face  will  cast   is  26  point.   Code  word.  LIAN, 

lwiS0NET0ASSESSANDEVALUlAtYPEFAC12 

Matrix  hifoi  Illation  :  Will  run  in  90  channel  layout.  Smallest  slug  on  which  this  face  will  cast  is  iCi  point.  Code  word,  ZEZOL, 

34  Point    (l-IA'tl  Caps,  figures  and  points  only     Figures.  ,1107 

IS0M[I0I1SS[SSAN0[VALUI1T[|ITYP[FI1C12 

Matrix  Injoriitation     Will  run  in  90  channel  layout.  Wide  figures  (.IJO)  are  supplied  for  72  channel  layout.  Smallest  slug  on 
which  this  face  will  cast  is  29  point.  Code  word.  LIBU. 


36  Point  (36An 


Lower  case  alphabet.  205  pf)ints.  Figures.  .1107 


HOW  IS  ONE  to  assess  and  evaluate  a  type  face  12 

MiJtnx  Intoiiimtion     Will  run  in  ''11  channel  layout.   Wide  figures   1,11491   are  supplied   lor  72  channel  l.i> 1     Siii.ilU-sl   ^lug  on 

which  this  lace  will  cast  is  10  point.  Code  woid.  l.ICV, 


48  Point  {4SA3) 


I  aps,  figures  and  points  only.   Figures,  .1798 


HOW  IS  ONE  TO  ASSESS  AND  EVAL12 

Matrix  Intormatiou     Will  run  in  72  chainiel  laymit:  ako  34  channel  auxiliary  magazine.   Smallest  slug  on  which  this  face  will 
cast  IS  AS  point.  Code  w.imI,  Lll- F 


60  Point  (60AS) 


Caps,  figures  and  points  only.  Figures.  .3213 


12 


Miittix  I njorviation  :   Will   run   in    72  channel   layuiil   except   figures;  also  in  34  channel   auxiliary   inaga/iiie.    Smallest    slug   on 
which  this  face  will  cast  is  45  point.  Code  word.  ZVUK. 


509 


GOTHIC    NO.  14 


18  Point   flfiA4.1) 


Lower  Lase  alphabet.  124  points.   FiRiires.  .083 


HOW  IS  one  lo  assess  and  evaluate  a  type  lace  In  terms  of  Its  estlietic  design?  Wli  1 2 


Matrix  IiiiormatioH:  Will   run   in  90  cliannel   lay.)Ut.   (  oile  word.   KO.Sl'. 


28  Point   (2SA1) 


Taps,  figures  and  points  only.  Finnres.  .0968 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  EACE  IN  TERMS  1 1 

Mati-ir  Ini.irination  :  Will  run  m  90  channel  layout.  Smallest  slug  on  winch  this  lace  will  cast  is  24  point.  Code  word.  KOTY. 


34  Point  (34 AD 


Caps,  figures  .-Mid  points  only.   Fii;ures.  .110 


lOWISONETOIISSESSiDUTEIITyPEFIICEIJ 

Matrix  Injormation :  Will  run  in  90  channel  layout.  Smallest  slug  on  which  this  face  will  cast  Is  29  point.  Code  word,  KOUB. 

Caps,  figures  and  points  only.  Figures,  .1245 


:i6  Point  (36A3) 


HOW  IS  ONE  TO  ASSESS  Hi  [MyAIE  A  TYPE  12 

Matrix  Injormation  :  Will  run  in  9U  cliaimel  layout,  except  ligures.  which  will  run  in  ad\ertising  figure  layout  or  in  auxiliary 
niaEazine.  Smallest  slug  on  which  this  face  will  cast  is  30  point.  Code  word.  KOVA. 


42  Point  (42An 


Caps,  figures  and  points  only.  Figures.  .154 


II0WIS0NEI0IISSE3SIINDEVIILUIITEI112 

Matrix  Information  :  Will  run  in  90  channel  layout,  except  figures,  which  will  run  in  advertising  tigure  layout  or  in  auxiliary 
magazine.  Smallest  slug  on  which  this  face  will  cast  is  36  point.  Code  word,  KOWE. 


48  Point    (4,HA1  I 


Caps,  figures  and  points  only.  Figure  1.  .0968;  2  to  0.  .1798 


Matrix  Information     Will  run  in  72  channel  layout,  also  in  auxiliary  magazine.  Smallest  slug  on  which  this  face  will  cast  is 
45  point.  Code  word.  KOXI. 


54  Point  (54AU 


Caps,  figures  and  points  only.  Figure  1.  .0968;  2  to  0.  .1798 


Matrix  Injormation  :  Will  run  in  72  channel  layout;  also  in  auxiliary  magazine.  Smallest  slug  on  which  this  face  will  cast  is 
45  point.  Code  word.  KOYC. 


60  Point  (60A1) 


E 


Caps,  figures  and  points  only.  Figure  I,  .1833;  2  to  0,  .2006 


12 


Matrix  Information :  Will  run  in  72  channel  layout;  also  in  34  channel  auxiliary  magazine.  Smallest  slug  on  which  this  face 
will  cast  in  45  point.  Code  word.  KOYT. 

48  and  60  point  sizes  are  also  available  in  A-P-L  matrices 


510 


GOTHIC    NO.   18 

13  Point  (Ono-Lottor) 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
abcdefghijklmnopqrstuvwxyzfiflffffiffl  1234567890  ($£,.:;'-'?!*!) 

Matrix  Inlui  lualioH  i:'A('-^.  i-nwer  c-:ise  alpliahet ,  K'7  p.. mis  l-imin-  I.  JiSSi:  _'  tti  ll.  ,l«i.  Will  iini  in  'ni  i  liaiiiicl  l,iy..ut.  Code 
word.  ZEMO. 


(o  LINOTYPE     ) 

14  Point  (Ono-Lottor) 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic 
design?  Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  spe- 
cific face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively 

ABCDEFGHIJKLMNOPQRSTUVWXYZdi 
abcdefghijklmnopqrstuvwxyzfiflffffiffl  1234567890  ($£,.:;'-'?!*t) 

M(jtn-i  liifonna/ioH  HAiy  I.owei  L.i-.f  alliliahet.  1=;'  p.. nils  Iml-ih.-  I,  nr_'_^;  J  tii  0.  .U'i(,y.  Will  i  iiii  in  ''0  channel  layout.  Lode 
word.  ZENU. 


-(. I  LINOTYPE     > 
18  Point 


How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its 
esthetic  design?  Why  do  the  pace-makers  in  the  art  of  print- 


(/-.■('..    I^.JIHl    icOtl.J) 


ABCDEFGHIJKLIVINOPQRSTUVWXYZ& 
abcdefghijklmnopqrstuvwxyz  1234567890(1,.:;'-'?!) 

Matnt     hit, nit, all.;,       1SA71       l,,ue!     .a-f    .ilplialicl  ,     1  ;  •-    |.,.nil-       l-r^oiii-        lll'7      Will     run    in    '«!    ,  liaiiiicl    layout      lodf-    ^^.,r,\. 
KUYV. 


-(LINOTYPE"    > 

34  Point 


How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
abcdefghijklmnopqrstuvwxyz 

Matrix  InfornnitioH  :  2AASS.  Luwer  case  alphaliet.  JiO  points.   Fi^iures.  .11(J7.  Will  run  in  ''U  Llianncl  layiuit.  (^)de  \v..r«i.   KUZI. 


511 


ADVERTISING  FIGURES 


-('««L|NDTYPE"»> 


GOTHIC  NO.  39— 18  to  42  Point 


18  Point  (18A367).  Figure  1.  .083:  2  to  0.  .1383. 

1234567890,.  $c 

Punched  in  regular  position.  For  Two-Line  8  Point.  Will  run 
according  to  Diagrams  32  and  51A.  Code  word,  i^EDUK. 

24  Point  (24A309).  Fisure  1.  .1107;  2  tu  0.  .1798. 

123456789a.$c 

Punched  m  regular  position.  For  Two-Line  10  Point.  Will  run 
according  to  Diagram  51A.  Code  word.  ZEDUR 


36  Point  (36AI31).  Figure  1.  .166:  2  to  0,  .2629. 

12345678,.$c 

Punched  in  auxiliary  position.  For  Two-Line  18  Point,  from  Display 
mold  or  Three-Line  10  Point,  from  Special  Advertising  figure  mold. 
Will  run  according  to  Diagram  51 A  in  wide  auxiliary  magazine.  Code 
word.  ZEDYU. 

42  Point  {42A39).  Figure  1.  .1937;  2  to  0.  .3044. 


according  to  Diagram  51A.  Code  word.  ZEDUR.  «.      ^^^^     ^^  j  ^^         #         ^^^^  ^f^ 

30  Point  (30A231).  Figure  1.  .1383;  2  to  0,  .2213.  I  J         ^        /\       /"^V     ^"V         /  ^L       .^"^ 

12345678  Sc       '^^^^0//.CpC 


Punched  in  regular  position.  For  Two-Line  12  Point.  Will  run 
according  to  Diagram  51  A.  Code  word,  ZEDVE. 


Punched  in  auxiliary  position.  For  Three-Line  12  Point,  from  Special 
Advertising  figure  mold.  Will  run  according  to  Diagram  51A  in  wide 
auxiliary  inaKa/ine.  Code  word.  ZEFEH. 


GOTHIC  NO. 

18  Point  (18A369).  Figure  1,  .0968:  2  to  0.  .1383. 

1 234567890,.  $c 

I'uiiched  in  regular  position.  For  Two-Line  8  Point.  Will  run 
according  to  Diagrams  32  and  51A.  Code  word.  ZEDZ.\. 

24  Point  (24A3I1).  Figure  1.  .1107;  2  to  0.  .1798. 

1234567890,.$c 

Punched  in  regular  position.  For  Two-Line  10  Point.  Will  run 
according  to  Diagram  51A.  Code  word,  ZEFAM. 

30  Point  (30A233).  Figure  1 .  .1383;  2  to  0.  .2213. 

12345678,.$c 

Punclied  in  regular  position.  For  Two-Line  12  Point,  Will  run 
according  t<j  Diagram  5lA.  Code  word.  ZEFAT. 


40—18  to  42  Point 

36  Point  (36A133).  Figure  1.  .166:  2  to  0.  .2629. 


12345678,.$c 

Punched  in  auxiliary  position.  For  Two- Line  18  Point,  from  Display 
mold  or  Three-Line  10  Point,  from  Special  Advertising  figure  mold. 
Will  run  according  to  Diagram  51A  in  wide  auxiliary  magazine.  Code 
word,  2EFAZ. 

42  Point  (42A4I).  Figure  1.  .1937;  2  to  0,  .315. 

234567,.  $c 

Punched  in  auxiliary  position.  For  Ihree-Line  12  Point,  from  Special 
Advertising  figure  mold.  Will  run  in  left  side  Diagram  51A  in  wide 
auxiliary  magazine.  Code  word,  ZEFEN. 


GOTHIC   NO.  41—18  to  42  Point 


18  Point  I18A371).  Figure  1.  .1107:  2  to  0,  .166. 

1234567890,.$c»« 

Punched  in  regular  position.  For  Two-Line  8  Point.  Will  run 
according  to  Diagrams  32  and  51  A.  Code  word,  ZEFBA. 

24  Point  (24A3I3).  Figure  1,  .1383;  2  to  0.  ,2144 

12345,.$c'"«  *' 

Punched  in  regular  position.  For  Two-Line  10  Point.  Will  run 
according  to  Diagram  51A.  Code  word,  ZEFCE. 


$ 


36  Point  (36A135).  Figure  1,  .2075:  2  to  0.  .315. 

12345,.$c 

Punched  in  auxiliary  position.  For  Two-Line  18  Point,  from  Display 
mold  or  Three-Line  10  Point,  from  Special  Advertising  figure  mold. 
Will  run  left  side  Diagram  51A  in  wide  auxiliary  magazine.  Code  word. 
ZEFEB. 


42  Point  (42A43).  Figure  1.  .249;  2  to  0.  .3736. 


30  Point  (30A235).  Figure  1.  .1729;  2  to  0,  .2698.  ^g^^     ^^         ^H       ^^m  M^  ^^^ 

23456,.$c'      23456,.$c 


Punched  in  regular  position.  For  Two-Line  12  Point.  Will  run 
according  to  Diagram  51A  in  wide  auxiliary  magazine.  Code 
word.  ZEFDL 


Punched   in  auxiliary  position.   For  Three-Line  12   Point,   from  Special 
Advertising  tigure  mold.  W^ill  run  Pi.  Code  word,  ZEFEV. 


NOTE:  Fractions  are  also  available  for  Gothics  No.  39,  40,  and  41 


512 


ADVERTISING  FIGURES 


-(  °  LINOTYPE" ")- 


GOTHIC  NO.  13— 12  to  42  Point 


12  Point  Gothic  No.  13  (12A436) 

1234567890 


Figures.  .08.1 


»ivC 


T'liiRlieiJ  in  liDth   rt-KVll.ir  and  auxiliary  positions. 


14  Point  Gothic  No.  13  (I4A6I) 


Flgnre:,    '"hR 


1234567890 


P>$^ 


Punched   in    regular   position.    For   Two- Line   6   Point.    Will    run 
accordinR  to  DiaK'anis  \2,  32  and  51A.  Code  word.  KOPE. 


18  Point  Gothic  No.  13  {18A289) 

1234567890 


Figures.    Iin7 

11112  Qg, 

4  2433  mOC 


Punclied    in   regular   position.    For   Two-Line   H    i'oinl     Will    run 
according  to  Diagrams  12.  .12  and  51A,  Code  word.  ZAFAB 


24  Point  Gothic  No.  13  (24A187)  Figure  1  .  ,  1  107  ;  2  to  II.    1,18.1 

1234567890  HM  v$c 

Punched  in   regular  position     For  'Iwo-I.ine   10   Point     Will   run 
according  to  Diagrams  32  and  .^lA.  Tnde  word,  ZEI,Ml'. 


30  Point  Gothic  No.  13  (30A37) 


FiKure  1.  .1383;  2  to  0.  .166 


1234567890     ,.Sc 

Punched   in  rcKtilar  position     For  Two  Line  12    I'oiiil     Will   run 
acrording  to  Diagrams  .12  anti  SI  A,  Code  word.   KOQl 


36  Point  Gothic  No.  13  (36A61) 


Figure  I.  .166;  2  to  0.  .19,17 


1234567890  ,.$c 

I'liiKlied  in  auxiliary  puMlinn.  Fur  Two-Line  IR  Point,  from  Dis- 
play mold  or  Three-Line  12  Point,  from  Special  Advertising  l-ig- 
ure  mold.  Will  run  according  to  Diagram  51  A.  Code  word.  KOOR. 


42  Point  Gothic  No.  13  (42A53) 


Figure  1,  .207,=;:  2  to  0.  .2421 


1234567  ,.$c 

Punched  in  auxiliary  position,  l-or  36  Point  slug  from  Display 
mold  or  Three- Line  12  point  from  Special  Advertising  Figure 
mold.  Will  run  left  side  Diagram  51A  in  34  channel  auxiliary 
magazine  or  right  or  left  side  Diagram  -^lA  in  Wide  34  channel 
auxiliary  magazine.  Code  word.  ZEPPO. 


GOTHIC  NO.  16— 14  to  42  Point 


14  Point  Gothic  No.  16  (14A9) 


Figures.  ,1383 


30  Point  Gothic  No.  16  (30A331 


Figures.  .2628 


I'uii.  htd    111    remilai    posilion.    For    Two-Line   6    Point,    Will    run 
according  to  Diagrams  32  and  51  A,  Code  word.  KUSO, 


Figures.  ,1798 


1234567890 

I'llil.  Iltd    111    remilal     posilion.     For 
according  to  Diagrams  32  and  51  A, 

18  Point  Gothic  No.  16  (18A5) 

123456789  I  i  ,.$c 

Punclied   in   regular  position.    For  Two-Line  8    Point.    Will    run 
according  to  Diagram  51  A.  Code  word,  KUTU. 

24  Point  Gothic  No.  16  (24A45)  Figures.  .221: 

1234567  i  M$c 

Punched    in    regular   ix.sitioii      Icr    Iwo-Line    I"    I'onit.    Will    run 
.according  to  Diagram  51A.  Code  word.  KIT\'\'. 

42  Point  Gothic  No.  16   (42,j7) 


12345  i  sSc 

Punched  in  regular  position.  For  Two-Line  12  Point  Will  run 
according  to  Diagram  sl.'\  in  Wide  34  channel  auxiliary  maga- 
zine. Code  word.  KCWA, 


38  Point  Gothic  No.  16  (36*,59) 


Figures.  .315 


123     4      faSC 

Punched  in  auxiliary  position.  For  Two-Line  16  Point,  from 
Displa>-  mold  or  Tliree-I^ine  10  Point,  from  .Special  .advertising 
figure  mold  Will  run  in  left  side  Diagram  ,SIA  wide  auxiliary 
magazine.  Code  word.  KlIRl. 


12345678  i  ,.Sc 


Figure  1.  .3182;  2  to  0.  ,3873 


PiiiKlied  in  auxiliary  position.  For  Two-line  IS  Point,   from   Displ;iv  iimld  or  1  hree  Line  12  Point,  from  Special  .\dvertis 
figure  mold    Will  run   Pi    (ode  word,  KCl  II 


GOTHIC  CONDENSED  NO.  2— 36  Point 


36  Point  Gothic  Condensed  No.  2  (36A13) 


Figures.  .1937 


1234567890  ,.Sc 

Punched  in  auxiliary  position.   For    luo  I  m,.   i,ii  pomi,   (rom   Displ.iy  mold  oi    Ihrec  line   Id  point,  from  Special  .Advertising 
figure  mold.  Will  run  according  to  Diagram  51A.  Code  word,  ZELNA. 


513 


ADVERTISING  FIGURES 


-(°  LINOTYPE   "> 


GOTHIC  CONDENSED  NO.  1—16  to  24  Point 


16  Point  Gothic  Condensed  No.  1   (16A9)  Figures,  .0968 

11312 
42433 


18  Point  Gothic  Condensed  No.  1   (18A29) 


1234567890 


Figures,  .112 


,.$c     1234567890   U  VsV'i  ,.$c 


Punched   in   regular   position.    For  Two-Line   7  point.   Will   run 
according  to  Diagrams  12,  32  and  51A.  Code  word.  LEEV. 


Punched   in   regular  position.    For  Two-Line  8   Point.    Will   run 
according  to  Diagrams  12,  32  and  51A.  Code  word,  LEIP. 


24  Point  Gothic  Condensed  No.  I    (24A19} 


Figures.  .1 12 


1234567890  H  ViVi  ,.$c 

Punclied  in  regular  position.   For  Two-Line  10  Point.   Will   run 
according  to  Diagrams  12,  32  and  51A.  Code  word.  LEMA. 


MID-GOTHIC— 14  to  30  Point 


14  Point  Mid  Gothic   (14Aii) 


Figures,  .1107 


24  Point  Mid  Gothic  (24^39) 


Figures.  .166 


1234567890   UIH   Va  ,.$c 

Puriched    in    regular   position.    For   Two-Line  6    Point.    Will   run 
according  to  Diagrams  12,  32  and  51  A.  Code  word,  MANE. 


123456789  U  ,.$c 

Punched  in  regular  position.    For  Two-Line  10  Point.   Will   run 
according  to  Diagrams  32  and  51A.  Code  word,  MAPL 


30  Point  Mid  Gothic  (30A51) 


18  Point  Mid  Gothic  (18A3) 


Figures.  .1383 


Figures.  .2075 


1234567890  HH  ,.$c 

Punched   in   regular  position.    For  Two-Line  8   Point.    Will   run 
according  to  Diagrams  32  and  51  A.  Code  word,  MAOX. 


1 2345678  i  ,.Sc 

Punched  in   regular  position.   For  Two-Line  12   Point.    Will   run 
according  to  Diagram  51A.  Code  word,  MAQO. 


LINOTYPE   DISPLAY  FIGURES   IN   USE 


ACME 

GROCERIES 

PEACHES  "oV  3  ^"'-  31c 
^^BEWISMlc 
BANANAS"!"  4- 19c 
5^  PEAS    2 


FURNITURE 


AT    PRICES    UNEQUALED    IN 
OUR  HISTORY.  AMONG  THEM 


ROCKER  Comfort  and  perfect  relaxation  are  the  key- 
notes of  this  sturdy,  well -upholstered  rocker.  And  the  price 
is  so  low  that  every  home  should  have  one.  Pin  dot  tapestry 
covering  in  choice  of  Rust  or  Green;  welted  and  tufted  back; 
Walnut   finish  on  a  Genuine  American 


Gum  wood  frame. 


$10.00 


KITCJ 

with^ 


Large 
Cans' 


*es'*^'' 


WALNUTS  =o9»1 


v5o^5;-:.^'t:'*'>  >-^<^, 


TOMATOES  3     29c 


514 


UITE  Solid  Maple  refectory  style  table 

;elain    top    and    Automatic    Extension 

Chairs  in  newest      ^0/\    /\^\ 

S<-^   \i  cutlery  drawer     ^.iCiWaWW 


Above:    Price    Display   Advertisement    set 
in  18  and  10  point  Gothic  No.   16,  8  point 
Baskerville,    and    18   point    Gothic   No.    41 
Advertising  Figures.   Rules;  3  point  Plain 
Rule    Matrix    Slide    No.    406   and    3    point 
Wave  Rule  Matrix  Slide  No.  16L 
Center:  Section  from  a  book  catalogue  set 
in    8  point   Cloister   with    16   point   Gothic 
Condensed  No.  1  Advertising  Figures. 
Left:  Food  Store  Advertisement  set  in  18  and  30  point 
Gothic  No.  16,  8  and  24  point  Gothic  No.  13.  Gothic  with  Lino- 
type  Name   Plates  and   18  point   Bold   Face   No.   2   Food  Store 
Logotypes.   Rules:   Plain  Rule  Matrix  Slides,  3  point  No.  406 
and  6  point  No.  423. 


LINOTYPE 

IONIC  No.  5 


Linotype  Ionic  No.  5  has  won  deserved  merit  as  a  face  that  is  truly  easy  to  read. 
It  was  originally  designed  to  overcome  the  handicap  of  eye  fatigue  and  impaired 
vision  of  many  newspaper  readers,  particularly  those  of  advanced  years.  Its  letter 
design  is  based  upon  a  study  of  eye  movements  in  reading,  as  well  as  on  the  prac- 
tical requirements  of  modern  printing  and  stereotyping  methods. 

Though  Ionic  No.  5  appears  to  be  much  larger  than  the  average  newspaper  face, 
and  is  considerably  easier  to  read,  it  actually  takes  up  no  more  space  in  newspaper 
and  periodical  columns.  Thus  it  does  not  minimize  letter  and  word  count,  and  is 
an  excellent  choice  where  maximum  matter  per  page,  and  the  desirable  factor  of 
reading  ease,  are  required. 

Ionic  No.  5  invites  reading  because  it  has  an  even,  restful  tone.  The  individual 
letters  are  full,  round,  clear  and  well-proportioned.  The  lower  case  is  large  in  pro- 
portion to  capitals.  There  are  no  fine  lines  or  serifs  to  break  down  in  stereotyping, 
electrotyping  or  printing,  and  no  small  openings  to  fill  up  with  ink  and  smudge.  It 
is  recommended  by  eye  specialists  the  country  over,  and  is  today  the  most  popular 
and  most  widely  used  periodical  type  of  the  present  era. 

MERGENTHALER  LINOTYPE  COMPANY.  BROOKLYN.  NEW  YORK 

NEW  YORK  CITY,  CHICAGO,  SAN  FRANCISCO,  NEW  ORLEANS.  CANADIAN 
LINOTYPE,   LIMITED,  TORONTO.  Representatives  in  the  Principal  Cities  of  the  World 


COMPARISON  OF  SIZES 


Linotype  Ionic  No.  5  with  Italic  and  Small  Caps 

5  I'oint  (SA26)  l.uwer  case  alphabet.  S-4  points.  FiKures.  .0415 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE 
How  is  one  to  asses.s  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of  prin  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  art  0/  p  vbcd 

B'/i  Point  (5J^A44)  Lfjwer  case  alphabet.  94  points.  Figures.  .046  or  .050 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO 
How  i.s  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  th  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  vbcd 

6  Puint  (6A302)  Lower  case  alphabet.  104  points.  FiKures.  .0484 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  PACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WH 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-make  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-ma  vbcd 

6'.-  Point  (6';A6)  Lower  case  alphaljct.  110  points.  Figures.  .0553 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  PACE  IN  TERMS  OP  ITS  ESTHETIC  DESIGN? 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pa  vbcd 

6H  Point   (6MA4)  '  Li.uer  case  alphabet.  I(i7  points.  FiBures.  .0553 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DES 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pac  vbcd 

7  Point  (7A13r>)  Lower  case  alphabet.  114  points.  Fisures.  .0553 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  p  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  th  vbcd 

7'..  Point  {7!;.A4I  Lower  case  alphabet.  121  points.  Figures.  Mf,22 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OP  ITS  ESTHE 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  vbcd 

8  Pnjnt   (SA3S4)  Lower  case  .ilpliabet.  127  points.  Fiijures.  .0622 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHE 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  W  vbcd 

9  Point   I9AI1(',I  L.iucr  case  alphabet.  139  points.  Fic-ures.  .0692 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  desig  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  des  vbcd 

111  L.iint    llllA.Vill]  L.iucT  lase  alphabet.   14',  pMints.    Fmures.  .0761 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  des  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  vbcd 

12  Point  (12A32l)l  Lower  case  alphabet,  163  points.  Figures,  .(IS3 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TE 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esth  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  e  vbcd 


=(     LINOTYPE"  0= 


LIST   OF    CHARACTERS    IN    TWQ-LETTER    FONTS 

WITH    ITALIC    AND    SMALL   CAPS 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&i^CE 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 

abcdef  ghi  j  klmnopqrstuvwxyz 

abcdefghijkhnnopqrstuvivxyz 
1234567890seoefifl[fffnffl$£,.: ;-"?  !-|—       . .  .  ( )  ®tb% 
1234567890ceoefififffflffl$£,.:;-"?!-  — . . .        ()@m% 

*tjii§[]  i/8y4%y2%%y8 
t}«§[]  y8y4%y2%%y8 

Two  styles  of  figures,  sices  .046  and  .050,  are  made  only  for  SYi  Point  Ionic  No.  5  zvith  Italic  and  Small  Caps. 
Be  sure  to  specify  the  size  of  figures  required  when  placing  orders  for  this  size. 


52A 


COMPARISON  OF  SIZES 


Linotype  Ionic  No.  5  with  Bold  Face  No.  2 

5  Pciiiit  (SA24)  l.iiwcr-  t.iM-  alpliahet.  «4  points.  FiKHres,  .0415 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  PACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-malcers  in  the  art  of  prin  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of  p  1234 

S'A  Point  (5';.A42)  Lower  ciise  .-ilpli.iliet,  54  points.  FiRures.  .046  or  .050 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  PACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  th  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Wfiy  do  tlie  pace-makers  in  12S4 

I,  Point   U,A2XX>  Lower  ease  alplnil.et.  1114  points.   I-iKnrcs.  .0484 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WH 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Wliy  do  tlie  pace-make  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-ma  1234 

6'j  Point   ((,'.A-I  Lower  t.isc  alph..lj.-t.  110  points.    Fiwnres.  .!)=-.! 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN? 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  estlietic  design?  Wliy  do  the  pace-  1234 
HOW  IS  ONE  to  as.se.ss  atid  evaluate  a  type  face  iti  term.s  of  its  e.sthetic  (le.sij;ii?  Why  do  the  i)a  1234 

6H   Point   (6WA2)  Lower  l.im-  alplialiet.  107  points.   Fi«nres,  .055J 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DES 
How  is  one  to  assess  and  evaiuate'a  type  face  in  terms  of  its  esthetic  design?  Wliy  do  tlie  pace-  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pac  1234 

7  Point   l7Al-'-'l  L.iwer  lasf  alpliaOet.  114  points.   Fii;nre-..  .n  =  =  ,1 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  PACE  IN  TERMS  OF  ITS  ESTHETIC 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  p  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  th  1234 

7'i  Point  (7'_.A2l  Lower  case  alpliain-t,   l„'l  points.  FiKun-s.    noJJ 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHE 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  1234 

s  point    IHl\ix:'  Lower  ..a--.-  .ilpli.ili.-t.    127  points.    I'mnres.  .U'.JJ 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHE 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  W  1234 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  desig  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  des  1234 

HOW  is  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  des  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  1234 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TE 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esth  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  e  1234 

Linotype  Ionic  No.  5  with  Gothic  No.  16 

.s"5  I'oiiit  (5i;A'".-t)  l.o«i-r  rasf  alphal.et,  'M  points.  Fiuures,  .050 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO 
How  i.s  one  to  asse.ss  and  evaluate  a  type  face  in  terms  of  its  e.sthetic  design?  Why  do  the  pace-makers  in  th  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  1234 

(;,'i//  rin7  .'ii   fi-'r  fnini  h,:dy) 


LINDTYPE^- 


LIST   OF    CHARACTERS    IN    TWO-LETTER    FONTS 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&/E(E 

abcdefghijklmnopqrstuvwxyz 

abcdefghijklmnopqrstuvvvxyz 
12345678908eoenflffffiffl$£,. :;-■•?!-!—        .  .  .  (  )  (wm% 
1234567890a;oefiflfffflffl$£,. :;-"?!-!—.  .  .        ()(atb% 

oi  fitiuics.  sizes  AUt)  ami  .OfO.  arc  made  only  for  5'/,  FvUtt  Ionic  Ko.  f  -.cilh  Hold  Face  A'o.  ?. 
/(,-  sure  to  sl>ccify  tlie  si:e  of  fiiiures  reqilirej  -.cheil  flacinij  orders  for  this  size. 


525 


5  PT. 


LINOTYPE  IONIC  No.  5  WITH  ITALIC 


5  Point 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN  >  WHY  DO  THE  PACE 
MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  OF  TYPE'  WHAT  DO  THEY  SEE  IN  IT?  WHY  IS 


How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of 
its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of 
printing  rave  over  a  specific  face  of  type?  What  do  they  see 
in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good 
design  is  alivays  practical  design.  And  what  they  see  in  a 
good  type  design  is,  partly,  its  excellent  practical  fitness  to 
perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its 
parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good 
chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do 
exactly  the  work  that  the  chair  has  to  do,  neither  clumsy 
and  thick,  nor  "skinny"  and  weak,  no  waste  of  material 
and  no  lack  of  strength.  And,  beyond  that,  the  chair  may 
have  been  made  by  a  man  who  worked  out  in  it  his  sense  of 
fine  shapes  and  curves  and  proportions;  it  may  be.  actually, 
a  work  of  art.  The  same  thing  holds  for  shapes  of  letters. 
And  your  chair,  or  your  letter  (if  a  true  artist  made  it)  will 
have,  besides  its  good  looks,  a  suitability  to  the  nth  degree 
to  be  sat  in,  or  stamped  on  paper  and  read.  That  explains, 
in  a  way,  why  the  experts  rave  over  the  fine  shapes  of  let- 
ters; but  it  fails  to  explain  wherein  the  shapes  are  fine.  If 
you  seek  to  go  further  with  the  inquiry,  theories  will  be 
your  only  answer.  Here  is  a  theory  that  the  proponent 
thinks  may  have  sense  in  it:  Fine  type  letters  were,  in  the 
first  place,  copies  of  fine  written  letters.  Fine  written  letters 
were  fine  because  they  were  produced  in  the  most  direct  and 
simple  way  by  a  tool  in  the  hands  of  a  person  expert  in  its 
use.  by  a  person,  moreover,  who  was  an  artist,  i.e.,  a  person 
equipped  to  make  sound  judgments  about  lines,  curves,  pro- 
( solid  J 

COUPLE,   Japanese;   excellent  cook,   butler,    chambermaid, 

seamstress;  willing  and  respectful:   good  workers;  entire 

charge;  go  anywhere;  highly  recommended  from  employer. 

C  139  Herald  Tribune,  Downtown,  


How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of 
its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of 
printing  rave  over  a  specific  face  of  type?  What  do  they  see 
in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good 
design  is  ahvays  practical  design.  And  what  they  see  in  a 
good  type  design  is,  partly,  its  excellent  practical  fitness  to 
perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its 
parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good 
chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do 
exactly  the  work  that  the  chair  has  to  do.  neither  clumsy 
and  thick,  nor  "skinny"  and  weak,  no  waste  of  material 
and  no  lack  of  strength.  And,  beyond  that,  the  chair  may 
have  been  made  by  a  man  who  worked  out  in  it  his  sense  of 
fine  shapes  and  curves  and  proportions:  it  may  be,  actually, 
a  work  of  art.  The  same  thing  holds  for  shapes  of  letters. 
And  your  chair,  or  your  letter  (if  a  true  artist  made  it)  will 
have,  besides  its  good  looks,  a  suitability  to  the  nth  degree 
to  be  sat  in,  or  stamped  on  paper  and  read.  That  explains, 
in  a  way,  why  the  experts  rave  over  the  fine  shapes  of  let- 
ters; but  it  fails  to  explain  wherein  the  shapes  are  fine.  If 
you  seek  to  go  further  with  the  inquiry,  theories  will  be 
your  only  answer.  Here  is  a  theory  that  the  proponent 
thinks  may  have  sense  in  it:  Fine  type  letters  were,  in  the 
first  place,  copies  of  fine  written  letters.  Fine  written  letters 
were  fine  because  they  were  produced  in  the  most  direct  and 
simple  way  by  a  tool  in  the  hands  of  a  person  expert  in  its 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of 
its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of 
printing  rave  over  a  specific  face  of  type?  Wfiat  do  they  see 

(one  point  haded j 
Two-Letter  Font 


(set  14  lines  to  the  inch) 

IJst  of  Charade 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&-5:CE 
ABCDEFGH!JKLMNOPQRSTUVWXyZ&/Ea: 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&«(E 

abcdefghijklmnopqrstuvwxyzajcefiflCtfflffl  1234567890  $£,.:;-"?  !-|—       , . ,  ( )®rb»ttll§[]'7« 
abcdefghtjkh/inopqrsluvivxyswaefifigffiffl  1234567890  SC: :-"? ! ...       O&Ib   n^f[]% 


Matrix  Information:  SA^6.  Lower  case  alphabet.  X4  points.   Figures.  .0415; 
channel  magazine.  Code  word,  ZABDU. 


iinia,  period  and  thin  space.  .0377.  Runs  in  90 


5^2  PT. 


<"' LINOTYPE"  0= 


5V2  Point 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO 
THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  OF  TYPE?  WHAT  DO  THEY 


How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms 
o£  its  esthetic  design?  Why  do  the  pace-makers  in  the 
art  o£  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant 
to  their  eyes?  Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design  is,  partly,  its 
excellent  practical  fitness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right  for  Its 
size,  as  any  good  tool  has.  Your  good  chair  has  all  of 
its  parts  made  nicely  to  the  right  size  to  do  exactly 
the  work  that  the  chair  has  to  do.  neither  clumsy  and 
thick,  nor  "skinny"  and  weak,  no  waste  of  material 
and  no  lack  of  strength.  And,  beyond  that,  the  chair 
may  have  been  made  by  a  man  who  worked  out  in  it 
his  sense  of  tine  shapes  and  curves  and  proportions: 
it  may  be,  actually,  a  work  of  art.  The  same  thing 
holds  for  shapes  of  letters.  And  your  chair,  or  your 
letter  (if  a  true  artist  made  it)  will  have,  besides  its 
good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in. 
or  stamped  on  paper  and  read.  That  explains,  in  a 
way,  why  the  experts  rave  over  the  fine  shapes  of  let- 
ters; but  it  fails  to  explain  wherein  the  shapes  are 
fine.  If  you  seek  to  go  further  with  the  inquiry,  theo- 

(solid) 


COUPLE.    Japanese;    excellent    cook,    butler,    cham- 
bermaid,  seamstress;   willing  and  respectful;   good 
workers;  entire  charge;  go  anywhere;  highly  recom- 
mended from   employer.  C   139   Herald  T     Q  g  j  p  q  y 


How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant 
to  their  eyes?  Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design  is,  partly,  its 
excellent  practical  fitness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good  chair  has  all  of 
its  parts  made  nicely  to  the  right  size  to  do  exactly 
the  work  that  the  chair  has  to  do,  neither  clumsy  and 
thick,  nor  "skinny"  and  weak,  no  waste  of  material 
and  no  lack  of  strength.  And.  beyond  that,  the  chair 
may  have  been  made  by  a  man  who  worked  out  in  it 
his  sense  of  fine  shapes  and  curves  and  proportions: 
it  may  be,  actually,  a  work  of  art.  The  same  thing 
holds  for  shapes  of  letters.  And  your  chair,  or  your 
letter  (if  a  true  artist  made  it)  will  have,  besides  its 
good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in, 
or  stamped  on  paper  and  read.  That  explains,  in  a 
way,  why  the  experts  rave  over  the  fine  shapes  of  let- 
ters; but  it  fails  to  explain  wherein  the  shapes  are 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  of  type?  What 

(one  point  leaded) 
Two- Letter  Font 


(set  14  lines  to  the  inch  zt'ith  short  descenders) 

tJst  o\  CharacI, 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 
ABCDEFCHIJKLMNOPQRSTVVWXYZ&JECE 

ABCDEFCHIJKLMNOPQRSTUVWXYZ&^CE 

abcdefghijklmnopqrstuvwxyzae(Efiflf[ffifH   1234567890   $£,.:;-"?!-i—       . . .  ( )  r,;  ibntliSIl".    ''8'/4%y2%%y8 
abcdefghijklmnopgrstuvwxyzceoefiflfffflffi  1234567890  $£,.::-"?! ...        O&tl,    ttUHK^r    Vs'/4%y2%%y8 

Tuu>  sices  of  figures  arc  available  in  5'/i  Point  Ionic  No.  5  zi'ith  Italic: 

Fieures     046^  1234567890         1234567890  ^Figures     050 
figures.  .046^  1234567890         1234567890  *-"'«"'' ^^-  ■'"" 

Matri.v  Information :  5;SA44.  Lower  case  alphabet.  94  points.  Figures.  .046  or  .050;  comma,  period  and  thin  space.  .0277.  Runs 
in  90  channel  magazine.  Code  word,  LUWV. 


526 


LINOTYPE   IONIC  No.  5  WITH  ITALIC 


6  PT. 


6  Point 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WH 
DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  OF  TYPE?  WHA 


How  IS  ONE  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  In  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  clesigji 
is  always  practical  design.  And  what  they  see  in  a 
good  type  design  is,  partly,  its  excellent  practical 
fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  exactly 
the  work  that  the  chair  has  to  do.  neither  clumsy 
and  thick,  nor  "skinny"  and  weak,  no  waste  of 
material  and  no  lack  of  strength.  And.  beyond 
that,  the  chair  may  have  been  made  by  a  man 
who  worked  out  in  it  his  sense  of  fine  shapes  and 
curves  and  proportions:  it  may  be.  actually,  a 
work  of  art.  The  .same  thing  holds  for  shapes  of 
letters.  And  your  chair,  or  your  letter  (if  a  true 
artist  made  it)  will  have,  besides  its  good  looks, 
a  suitability  to  the  ;ith  degree  to  be  sat  in.  or 
stamped  on  paper  and  read.  That  explains,  in  a 
way.  why  the  experts  rave  over  tlie  fine  shapes  of 
letters;  but  it  fails  to  explain  wherein  the  shapes 
are  fine.  If  you  seek  to  go  further  with  the  in- 
Hoiu  is  one  to  assess  and  eimliiate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 


list  oj  Clun-tn-l, 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 
ABCDEFGHIJKLMNOPQRSTUVWXYZ.&JECE 

ABCDEFGHIJKLMNOPQRSTUVWXTZ&,«CE 

abcdefghijklmnopqrstuvwxyzseoefiflfffflffl  1234567890  $£,.:;-"?!- 
abcdefghijklmnopqrstuvwxyzcEcefififJffifJi  1234567890  $£...:;-"?!- 

Matrix  Iniormation:  6A302.  Linver  case  alijlialiet,  KM  p.. nils.   FiKures.  .m.H4; 
thamiel  magazine.  Code  word,  ZODO. 


How  IS  ONE  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  design 
is  always  practical  design.  And  what  they  .see  in  a 
good  type  design  is.  partly,  its  excellent  practical 
fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  exactly 
the  work  that  the  chair  has  to  do.  neither  clumsy 
and  thick,  nor  "skinny"  and  weak,  no  waste  of 
material  and  no  lack  of  strength.  And,  beyond 
that,  the  chair  may  have  been  made  by  a  man 
who  worked  out  in  it  his  sense  of  fine  shapes  and 
curves  and  proportions:  it  may  be,  actually,  a 
work  of  art.  The  .same  thing  holds  for  shapes  of 
letters.  And  your  chair,  or  your  letter  ( if  a  true 
artist  made  it)  will  liave.  besides  its  good  looks, 
a  suitability  to  the  7tth  degree  to  be  .sat  in.  or 
stamped  on  paper  and  read.  That  explains,  in  a 
way.  why  the  experts  rave  over  the  fine  shapes  of 
letters;  but  it  fails  to  explain  wherein  the  shapes 

(  oil-  point  l,;ul,;l 
llt:>-I.ctlr,    l-uni 


.()wlb*tM§(l%  '/a ','4^,8 

Otqlb     t:|:1I§(l%    1,8 ','4% 


1(,5'„3'  7' 


-(     LINOTYPE   ')- 


6^2 


2  PT. 


6y2  Point 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TY" 
WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF 
How  IS  ONE  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  spe- 
cific face  of  type?  What  do  they  see  in  it?  Why 
is  it  so  superlatively  pleasant  to  their  eyes? 
Good  design  is  always  practical  design.  And 
what  they  see  in  a  good  type  design  is.  partly, 
its  excellent  practical  fitness  to  perform  its 
work.  It  has  a  "heft"  and  balance  in  all  of  its 
parts  just  right  for  its  size,  as  any  good  tool  has. 
Your  good  chair  has  all  of  its  parts  made  nicely 
to  the  right  size  to  do  exactly  the  work  that  the 
chair  has  to  do.  neither  clumsy  and  thick,  nor 
"skinny"  and  weak,  no  waste  of  material  and  no 
lack  of  strength.  And.  beyond  that,  the  chair 
may  have  been  made  by  a  man  who  worked  out 
in  it  his  sense  of  fine  shapes  and  curves  and 

How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  spe- 
cific face  of  type?  What  do  they  see  in  it?  Why 
is  it  so  superlatively  pleasant  to  their  eyes? 
Good  design  is  always  practical  desig     g  j  P  q  y 

I  .U-t  -.i-lth    ill, .It   il.'u.nilrts.   ,'n    .11-  point   h.niy) 


PE  PACE  IN  TERMS  OP  ITS  ESTHETIC  DESIGN? 

PRINTING  RAVE  OVER  A  SPECIFIC  FACE  OF  T 
How  IS  ONE  to  assess  and  evaluate  a  type  face  In 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  spe- 
cific face  of  type?  Wliat  do  they  see  in  it?  Why 
is  it  so  superlatively  pleasant  to  their  eyes? 
Good  design  is  alivays  practical  design.  And 
what  they  see  in  a  good  type  design  is.  partly, 
its  excellent  practical  fitness  to  perform  its 
work.  It  has  a  "heft"  and  balance  in  all  of  its 
parts  just  right  for  its  size,  as  any  good  tool  has. 
Your  good  chair  has  all  of  its  parts  made  nicely 
to  the  right  size  to  do  exactly  the  work  that  the 
chair  has  to  do.  neither  clumsy  and  thick,  nor 
"skinny"  and  weak,  no  waste  of  material  and  no 
lack  of  strength.  And,  beyond  that,  the  chair 
may  have  been  made  by  a  man  who  worked  out 
in  it  his  sense  of  fine  shapes  and  curves  and 
proportions:  it  may  be,  actually,  a  work  of  art. 
How  is  07ie  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  spe- 

I  .'II,-  point  Irmloii  I 


List  of  ChaniLtois  in  'I -.vo-l ,ott oi   l-oiit 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&.^CE 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&.«CE 

abcdefghijklmnopqrstuvwxvzseffiflflffffiffl  1234567890  $£,.::-"?!~l  — 

Vs  1/4  %  Vi  Va  %  Vs 
ahcdefghijklmnopqrstuvwxyzwcefiflfjffi.fjl  1234567890  $£...::-•'?! .  . 

Vs  ■  4  %  V2  %  %  Js 


Miltiir  liijormiilioii  .   I)'..  A'l.    Liiwer  la 
chanm-l  magazine.  I  nde  wi.nl.  I.IX.X. 


ll.l,.-,l,, 


no  |i. 


fits.    Fitiiire 


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()(„  lb    ttliSI  1% 

thill  sp.Ht-.   .I)J77.    kiins  in  90 


527 


6%  PT. 


LINOTYPE  IONIC  No.  5  WITH  ITALIC 


6%  Point 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DES 
WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE 
How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Wliy  do  the  pace-mak- 
ers in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so  super- 
latively pleasant  to  their  eyes?  Good  design  is  always  practical  design.  And  what  tliey  see  in  a  good 
type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has  a  "heft"  and  balance 
in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made 
nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor 
"skinny"  and  weak,  no  waste  of  material  and  no  lack  of  strength.  And,  beyond  that,  the  chair  may 
have  been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and  curves  and  proportions : 
it  may  be,  actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or  your 
letter  (if  a  true  artist  made  it)  will  have,  besides  its  good  looks,  a  suitability  to  the  nth  degree  to  be 
sat  in,  or  stamped  on  paper  and  read.  That  explains,  in  a  way,  why  the  experts  rave  over  the  fine 
shapes  of  letters;  but  it  fails  to  explain  wherein  the  shapes  are  fine.  If  you  seek  to  go  further  with 
the  inquiry,  theories  will  be  your  only  answer.  Here  is  a  theory  that  the  proponent  thinks  may  have 
sense  in  it :  Fine  type  letters  were,  in  the  first  place,  copies  of  fine  written  letters.  Fine  written  letters 
were  fine  because  they  were  produced  in  the  most  direct  and  simple  way  by  a  tool  in  the  hands  of  a 
person  expert  in  its  use,  by  a  person,  moreover,  who  was  an  artist,  i.e.,  a  person  equipped  to  make 
sound  judgments  about  lines,  curves,  proportions,  etc.  The  artist  of  that  moment  when  printing  was 
invented  who  furnished  the  fine  written  patterns  for  type  was  (luckily  for  printing)  working  at  the 
top  notch  of  a  fine  tradition  of  calligraphy.  He  was  making  sound  judgments  about  lines  and  curves 
and  proportions  of  letters.  He  had  resurrected  an  ancient  distinguished  style  of  writing  and  had 
added  to  it  the  quality  of  his  own  fine  taste.  His  letters  flowed  from  his  pen  easily  and  simply,  with- 
out any  tricks  or  affectations  or  extraneous  embellishments.  He  was  simple  enough  and  artist 
enough  to  let  the  implement  itself  (and  his  facile  hand)  shape  the  product.  The  fine  qualities  of  this 
artist's  letter-forms  were  carried  over  into  the  metal  types  and  sealed  up  there,  like  butterflies  in 
amber.  It  is  argued,  however,  that  the  ascription  of  beauty  to  type  letters  by  this  route  (i.e.,  via  the 
standards  of  calligraphy)  is  false  logic.  If  the  natural  and  simple  and  tastefully  controlled  use  of  an 
implement  produces  a  fine  result,  why  not  start  with  the  process  of  founding  type  instead  of  with  the 
process  of  writing  with  a  pen?  Why  not  cut  punches  and  strike  matrices  and  cast  type  metal  simply 
and  naturally  and  tastefully,  and  make  types  that  reflect  a  suitable  artistic  use  of  the  process  of 
typefounding?  I  think  that  the  argument  is  esthetically  sound.  There  is  no  common  opinion  about 
the  legibility  or  grace  or  vigor  of  various  type  faces  that  can  be  quoted  as  authority.  One  man's  opin- 
ion is  as  good  as  another's.  Each- commentator  has  his  own  pet  designs  and  his  own  reasons  for 
thinking  them  good.  Some  kind  of  comment  on  the  various  type  faces  in  general  use  is  desirable  in 
this  section  merely  for  the  purpose  of  bringing  the  argument  to  a  focus  on  actual  examples.  The 
comment  that  follows  has  no  more  weight  than  this;  it  is  what  a  given  person  thinks  about  the  type 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-mak- 
ers in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so  super- 
latively pleasant  to  their  eyes?  Good  design  is  always  practical  design.  And  ivhat  they  see  in  a  good 

ion  eight  point  body) 

How  IS  ONE  to  assess  and  evaluate  a  type  face  in  How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace-  terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  .pecific  makers  in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  face  of  type?  What  do  they  see  in  it?  Why  is  it 
so  superlatively  pleasant  to  their  eyes?  Goodde-  go  superlatively  pleasant  to  their  eyes?  Good  de- 
sign IS  always  practical  design.  And  what  they  ^ign  is  always  practical  design.  And  what  they 
see  m  a  good  type  design  is,  partly,  its  excellent  /  =  f  ,^  .  :  :  ^  .,  ..  pxrellent 
practical  fitness  to  perform  its  work.  It  has  a  _t  ?■  fZ  ^^  f  ^f  Partly,  its  excellent 
"heft"  and  balance  in  all  of  its  parts  just  right  .P^^^,*  ,'=^'  f  ^'^f  ^  '^°  perform  its  work.  It  has  a 
for  its  size,  as  any  good  tool  has.  Your  good  .h*^"  ^"^  balance  in  all  of  its  parts  just  right 
chair  has  all  of  its  parts  made  nicely  to  the  right  ^°^  ^^^  size,  as  any  good  tool  has.  Your  good 
size  to  do  exactly  the  work  that  the  chair  has  chair  has  all  of  its  parts  made  nicely  to  the  right 
to  do,  neither  clumsy  and  thick,  nor  "skinny"  size  to  do  exactly  the  work  that  the  chair  has 
and  weak,  no  waste  of  material  and  no  lack  of  to  do,  neither  clumsy  and  thick,  nor  "skinny" 
strength.  And.  beyond  that,  the  chair  may  have  and  weak,  no  waste  of  material  and  no  lack  of 
been  made  by  a  man  who  worked  out  in  it  his  strength.  And,  beyond  that,  the  chair  may  have 
sense  of  fine  shapes  and  curves  and  proper-  been  made  by  a  man  who  worked  out  in  it  his 
tions:  it  may  be,  actually,  a  work  of  art.  The  sense  of  fine  shapes  and  curves  and  propor- 

Ivn  sez'i'il  point  body)  (oil  seven  and  one-half  feint  body) 

List  of  Charaelers  in  Two-Letter  Font 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&.ffiCE 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&JECE 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&a;(E 

abcdefghijklmnopqrstuvwxyzaeffififlfffiifH  1234567890  $£,.;;-"?  !-|—       . . .  ()  (f7)lb*7ttl§[]  % 

ahedefghijklmnopqrstuvwxyzcecefifigSiffl  1234567890  $£,.:;-"?! ...        ()(nilb   tt11§[]% 

Vs  Vi  %  Vz  %  %  Vs 

Matrix  Jnjortnation:  6MA4.  Lower  case  alphabet.  107  points.  Figures.  .0553;  comma,  period  and  thin  space.  .0277.  Runs  in  90 
channel  magazine.  7  point  alignment.  Smallest  slug  on  which  this  face  will  cast  is  7  point.  Code  word,  LUYF. 


528 


LINOTYPE  IONIC  No.  5  WITH  ITALIC 


7pt. 


7  Point 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC 
DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SP 
How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Wliy  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it 
so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  practical  design.  And  what  they 
see  in  a  good  type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good 
chair  has  all  of  its  parts  made  nicely  to  the  right  .size  to  do  exactly  the  work  that  the  chair  has 
to  do,  neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of  material  and  no  lack  of 
strength.  And,  beyond  that,  the  chair  may  have  been  made  by  a  man  who  worked  out  in  it  his 
sense  of  fine  shapes  and  curves  and  proportions:  it  may  be,  actually,  a  work  of  art.  The  same 
thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  letter  (if  a  true  artist  made  it)  will 
have,  besides  its  good  looks,  a  suitability  to  the  7ith  degree  to  be  sat  in,  or  stamped  on  paper 
and  read.  That  explains,  in  a  way,  why  the  experts  rave  over  the  fine  shapes  of  letters;  but  it 
fails  to  explain  wherein  the  shapes  are  fine.  If  you  seek  to  go  further  with  the  inquiry,  theories 
will  be  your  only  answer.  Here  is  a  theory  that  the  proponent  thinks  may  have  sense  in  it:  Fine 
type  letters  were,  in  the  first  place,  copies  of  fine  written  letters.  Fine  written  letters  were  fine 
because  they  were  produced  in  the  most  direct  and  simple  way  by  a  tool  in  the  hands  of  a  per- 
son expert  in  its  use,  by  a  person,  moreover,  who  was  an  artist,  i.e.,  a  person  equipped  to  make 
sound  judgments  about  lines,  curves,  proportions,  etc.  The  artist  of  that  moment  when  print- 
ing was  invented  who  furnished  the  fine  written  pattei'ns  for  type  was  (luckily  for  printing) 
working  at  the  top  notch  of  a  fine  tradition  of  calligraphy.  He  was  making  sound  judgments 
about  lines  and  curves  and  proportions  of  letters.  He  had  resurrected  an  ancient  distinguished 
style  of  writing  and  had  added  to  it  the  quality  of  his  own  fine  taste.  His  letters  flowed  from  his 
pen  easily  and  simply,  without  any  tricks  or  affectations  or  extraneous  embellishments.  He 
was  simple  enough  and  artist  enough  to  let  the  implement  itself  ( and  his  facile  hand )  shape 
the  product.  The  fine  qualities  of  this  artist's  letter-forms  were  carried  over  into  the  metal 
types  and  sealed  up  there,  like  butterflies  in  amber.  It  is  argued,  however,  that  the  ascription 
of  beauty  to  type  letters  by  this  route  (i.e.,  via  the  standards  of  calligraphy)  is  false  logic.  If  the 
natural  and  simple  and  tastefully  controlled  use  of  an  implement  produces  a  fine  result,  why 
not  start  with  the  process  of  founding  type  instead  of  with  the  process  of  writing  with  a  pen? 
Why  not  cut  punches  and  strike  matrices  and  cast  type  metal  simply  and  naturally  and  taste- 
fully, and  make  types  that  reflect  a  suitable  artistic  use  of  the  process  of  typefounding?  I  think 
How  is  one  to  assess  and  evaluate  a  type  face  zw  terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it 
so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  practical  design.  And  what  they 

itivu  point  Iradcd) 

How  IS  ONE  to  assess  and  evaluate  a  type  face  How  is  one  to  assess  and  evaluate  a  type  face 

in  terms  of  its  esthetic  design?  Why  do  the  in  terms  of  its  esthetic  design?  Why  do  the 

pace-makers  in  the  art  of  printing  rave  over  pace-makers  in  the  art  of  printing  rave  over 

^.o^?,^,?!^^  ^^^^  °^  type?  What  do  they  see  m  ^  specific  face  of  type?  What  do  they  see  in 

'SS^^ai^^^^'SXZ  &?SVd°S"  it?  Why  is  it  so  superlatively  pleasant  to  their 

And  what  they  see  in  a  good  type  design  is,  eyes?  Good  design  is  always  practical  design. 

partly,  its  excellent  practical  fitness  to  per-  And  what  they  .see  m  a  good  type  design  is, 

form  its  work.  It  has  a  "heft"  and  balance  in  partly,  its  excellent  practical  fitness  to  per- 

all  of  its  parts  just  right  for  its  size,  as  any  form  its  work.  It  has  a  "heft"  and  balance  in 

good  tool  has.  Your  good  chair  has  all  of  its  all  of  its  parts  just  right  for  its  size,  as  any 

parts  made  nicjely  to  the  right  size  to  do  ex-  good  tool  has.  Your  good  chair  has  all  of  its 

ne    he    cluTnsv  and  tWck    nor' ''skfnny"  and  P^^^s  made  nicely  to  the  right  size  to  do  ex- 

weXno'rs\'^BTf''mKarand'n""Lk  rf  actly   the  work   that   the   chair   has   to   do. 

strength.  And,  beyond  that,  the  chair  may  neither  clumsy  and  thick,  nor  "skinny 'and 

have  been  made  by  a  man  who  worked  out  in  weak,  no  waste  of  material  and  no  lack  of 

it  his  sense  of  fine  shapes  and  curves  and  pro-  strength.  And,  beyond  that,  the  chair  may 

(.(../,(/ 1  l,<,u-  p,.i,,t  U;nicd) 

List  of  Cllaracli-rs  in   Tu-o-1  .i-ltcy  Fi'nl 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^OE 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&JEO: 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&ffiCE 

abcdefghijklmnopqrstuvwxyzaeoefiflfffflfH  1234567890  $£,.:;-"?!-|—      . .  .()(??n)*tl11§[]% 

Vs  Vi  %  ''2  %  %  "k 

abcdefghijklmnopqrstuvwxyzceoefifl.ffffiffl  1234567890  $£,.:;-"? ! ...       Of^rh    ttll§[]% 

Vs  Vi  %  Vz  %  %  "i 

Matrix  Injormation  :  7A126.  Lower  i-.'ise  .•dph.-il.t-t.  114  imitils.  FiKiire>.  .I)S=.,!;  c.uiiiiia.  peridd  ami  tliiii  space.  .0J7".  Runs  ill  90 
cli.'iiniel  magazine,  ('t)de  word.  I-UZE. 


529 


IVl  PT. 


LINOTYPE   IONIC  No.  5  WITH  ITALIC 


7^2  Point 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHE 
DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A 
How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in 
it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  practical  de- 
sign. And  vi^hat  they  see  in  a  good  type  design  is,  partly,  its  excellent  practical  fitness  to 
perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do 
exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and 
weak,  no  waste  of  material  and  no  lack  of  strength.  And.  beyond  that,  the  chair  may  have 
been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and  curves  and  propor- 
tions: it  may  be,  actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of  letters.  And 
your  chair,  or  your  letter  ( if  a  true  artist  made  it )  will  have,  besides  its  good  looks,  a  suit- 
ability to  the  nth  degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That  explains,  in  a 
way,  why  the  experts  rave  over  the  fine  shapes  of  letters;  but  it  fails  to  explain  wherein 
the  shapes  are  fine.  If  you  seek  to  go  further  with  the  inquiry,  theories  will  be  your  only 
answer.  Here  is  a  theory  that  the  proponent  thinks  may  have  sense  in  it:  Fine  type  letters 
were,  in  the  first  place,  copies  of  fine  written  letters.  Fine  written  letters  were  fine  because 
they  were  produced  in  the  most  direct  and  simple  way  by  a  tool  in  the  hands  of  a  person 
expert  in  its  use,  by  a  person,  moreover,  who  was  an  artist,  i.e.,  a  person  equipped  to  make 
sound  judgments  about  lines,  curves,  proportions,  etc.  The  artist  of  that  moment  when 
printing  was  invented  who  furnished  the  fine  written  patterns  for  type  was  (luckily  for 
printing)  working  at  the  top  notch  of  a  fine  tradition  of  calligraphy.  He  was  making 
sound  judgments  about  lines  and  curves  and  proportions  of  letters.  He  had  resurrected 
an  ancient  distinguished  style  of  writing  and  had  added  to  it  the  quality  of  his  own  fine 
taste.  His  letters  flowed  from  his  pen  easily  and  simply,  without  any  tricks  or  affectations 
or  extraneous  embellishments.  He  was  simple  enough  and  artist  enough  to  let  the  imple- 
ment itself  (and  his  facile  hand)  shape  the  product.  The  fine  qualities  of  this  artist's 
letter-forms  were  carried  over  into  the  metal  types  and  sealed  up  there,  like  butterflies  in 
amber.  It  is  argued,  however,  that  the  ascription  of  beauty  to  type  letters  by  this  route 
(i.e.,  via  the  standards  of  calligraphy  J  is  false  logic.  If  the  natural  and  simple  and  taste- 
Hoto  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in 
it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  desigji  is  always  practical  de- 

(t7vo  point  Iradt'd) 

How  IS  ONE  to  assess  and  evaluate  a  type  How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design?  Why  do  face  in  terms  of  its  esthetic  design?  Why  do 
the  pace-makers  in  the  art  of  printing  rave  the  pace-makers  in  the  art  of  printing  rave 
over  a  specific  face  of  type?  What  do  they  over  a  specific  face  of  type?  What  do  they 
see  in  it?  Why  is  it  so  superlatively  pleas-  ^^^  ^^  ^^,  ^^  jg  ^^  superlatively  pleas- 
ant to  their  eyes?  Good  design  is  always  „„,  ,^  fv,„;,.  „„„c.o  r-  ^w^  ,•  ■  ? 
practical  design.  And  what  they  see  in  a  ^"t  to  their  eyes?  Good  design  is  always 
good  type  design  is,  partly,  its  excellent  practical  design.  And  what  they  see  in  a 
practical  fitne.ss  to  perform  its  work.  It  has  '  ""*' '"'""  '""''''" 
a  "heft"  and  balance  in  all  of  its  parts  just  How  is  one  to  assess  and  evaluate  a  type 
right  for  its  size,  as  any  good  tool  has.  Your  face  in  terms  of  its  esthetic  design?  Why  do 
good  chair  has  all  of  its  parts  made  nicely  the  pace-makers  in  the  art  of  printing  rave 
to  the  right  size  to  do  exactly  the  work  that  over  a  specific  face  of  type?  What  do  they 
the  chair  has  to  do,  neither  clumsy  and  see  in  it?  Why  is  it  so  superlatively  pleas- 
thick,  nor  "skinny"  and  weak,  no  waste  of  ant  to  their  eyes?  Good  design  is     g  j  p  q  y 

i -^"li'l  I  (  st't  with  long  descenders,  on  eight  point  body  J 

List  of  Clnuucters  in  T-.eo-Letter  Font 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&CECE 

abcdefghijklmnopqrstuvwxyzEeoefiflfffnffl  1234567890  $£,.: ;-"?!-! —       .  .  .  ()(g)lb 

*  t  n  §  [  ]  %  ys  'A  %  V2  %  %  % 

abcdefghijklmnopqrstuvivxyzceoefiflffffiffl  1234567890  $£,.:;-■■?.' .  .  .        (J  @Ib 

nuujoVs  y4  %  ya  %  %  ys 

Matrix  Iniormatiuii :  7!jA4.  Lower  case  alphabet.  IJl  points.  Figures,  .0622;  comma,  periixl  and  thin  space.  .0311.  Runs  in  90 
channel  magazine.  8  point  alignment.  Smallest  slug  on  which  this  face  will  cast  is  7|4  point.  Code  word,  LUZU. 


530 


LINOTYPE  IONIC  No.  5  WITH  ITALIC 

r  8   PT. 


8  Point 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHE 
DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER 
How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do 
the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they 
see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  prac- 
tical design.  And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent  practical 
fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for 
its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the 
right  size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick, 
nor  "skinny"  and  weak,  no  waste  of  material  and  no  lack  of  strength.  And,  beyond 
that,  the  chair  may  have  been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine 
shapes  and  curves  and  proportions:  it  may  be,  actually,  a  work  of  art.  The  same  thing 
holds  for  shapes  of  letters.  And  your  chair,  or  your  letter  (if  a  true  artist  made  it)  will 
have,  besides  its  good  looks,  a  suitability  to  the  nili  degree  to  be  sat  in,  or  stamped  on 
paper  and  read.  That  explains,  in  a  way,  why  the  experts  rave  over  the  fine  shapes  of 
letters;  but  it  fails  to  explain  wherein  the  shapes  are  fine.  If  you  seek  to  go  further 
with  the  inquiry,  theories  will  be  your  only  answer.  Here  is  a  theory  that  the  propo- 
nent thinks  may  have  sense  in  it:  Fine  type  letters  were,  in  the  first  place,  copies  of 
fine  written  letters.  Fine  written  letters  were  fine  because  they  were  produced  in  the 
most  direct  and  simple  way  by  a  tool  in  the  hands  of  a  person  expert  in  its  use,  by  a 
person,  moreover,  who  was  an  artist,  i.e.,  a  person  equipped  to  make  sound  judgments 
about  lines,  curves,  proportions,  etc.  The  artist  of  that  moment  when  printing  was 
invented  who  furnished  the  fine  written  patterns  for  type  was  (luckily  for  printing) 
working  at  the  top  notch  of  a  fine  tradition  of  calligraphy.  He  was  making  sound 
judgments  about  lines  and  curves  and  proportions  of  letters.  He  had  resurrected  an 
ancient  distinguished  style  of  writing  and  had  added  to  it  the  quality  of  his  own  fine 
taste.  His  letters  fiowed  from  his  pen  easily  and  simply,  without  any  tricks  or  affecta- 
tions or  extraneous  embellishments.  He  was  simple  enough  and  artist  enough  to  let 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do 
the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they 
see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  alivays  prac- 

(tv'o  t>,n,it  l-adcd) 

How  IS  ONE  to  assess  and  evaluate  a  type  How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design?  Why  face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing  do  the  pace-makers  in  the  art  of  printing- 
rave  over  a  specific  face  of  type?  What  ^-ave  over  a  specific  face  of  type?  What 
do  they  see  m  it?  Why  is  it  so  superia-  ^^  ^^  ^^^  ^^^  ^^^  ^i  ^^  i^  superla- 
tivelv  pleasant  to  their  eyes?  Good  de-  ..,*',  4.  ^  x,  ■  r,  ^  ,  , 
sign  is  ahoays  practical  design.  And  what  ^^.^^^-V  pleasant  to  their  eyes?  Good  de- 
they  see  in  a  good  type  design  is,  partly,  sign  is  ahvaijs  practical  design.  And  what 
its  excellent  practical  fitness  to  perform  they  see  in  a  good  type  design  is,  partly, 
its  work.  It  has  a  "heft"  and  balance  in  its  excellent  practical  fitness  to  perform 
all  of  its  parts  just  right  for  its  size,  as  its  work.  It  has  a  "heft"  and  balance  in 
any  good  tool  has.  Your  good  chair  has  all  of  its  parts  just  right  for  its  size,  as 
all  of  its  parts  made  nicely  to  the  right  any  good  tool  has.  Your  good  chair  has 
size  to  do  exactly  the  work  that  the  chair  ^11  of  its  parts  made  nicely  to  the  right 
has  to  do,  neither  clumsy  and  thick,  nor  :  .  ^  exartlv  the  work  thit  thP  rhair 
"skinny"  and  weak,  no  waste  of  material  ^^^^  ^°  ^°            .^,.  £!,  w ./; 

I.isl  ..(  CInliili-Iri  V  ni    I  7i:i^  Lrll  ,i    foul 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 

ABCDEFGHIJKLMNOPQRSTVVWXYZ&MCE 

abcdefghijklmnopqrstuvwxyz&;ece 

abcdefghijklmnopqrstuvwxyzseoefififfflnffl  1234567890  $£,.:; -•'?!-!—       .  .  .  ( )  (T/'tfe 

abcdefghijklmnopqrstuvwxyzceoefififfffiffl  1234567890  $£,..:;-'?! . . .        (X^i'Tb 

Matiix  liil.nmah,',,  HA'X-^.  l-.m.-r  ,:i-r  ,ili.li..l..-l .  1.';'  points,  l-iuuri-s.  .(lf,-'J:  n.iiiiii;i.  Iii-ri..il  :nlil  lliin  s, ).■„■<>,  .O.ill.  Unn-  in  '«! 
ili.-mnol  ni.iK.i/nH-.  (..<!<•  vv..r.l.  l-fXT, 


531 


9pt. 


LINOTYPE  IONIC  No.  5  WITH  ITALIC 


9  Point 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS 
ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINT 
How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type? 
What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good 
design  is  always  practical  design.  And  what  they  see  in  a  good  type  design  is, 
partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good 
chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly  the  work 
that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no 
waste  of  material  and  no  lack  of  strength.  And,  beyond  that,  the  chair  may 
have  been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and 
curves  and  proportions:  it  may  be,  actually,  a  work  of  art.  The  same  thing 
holds  for  shapes  of  letters.  And  your  chair,  or  your  letter  (if  a  true  artist  made 
it)  will  have,  besides  its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in, 
or  stamped  on  paper  and  read.  That  explains,  in  a  way,  why  the  experts  rave 
over  the  fine  shapes  of  letters;  but  it  fails  to  explain  wherein  the  shapes  are 
fine.  If  you  seek  to  go  further  with  the  inquiry,  theories  will  be  your  only  an- 
swer. Here  is  a  theory  that  the  proponent  thinks  may  have  sense  in  it:  Fine 
type  letters  were,  in  the  first  place,  copies  of  fine  written  letters.  Fine  written 
letters  were  fine  because  they  were  produced  in  the  most  direct  and  simple  way 
by  a  tool  in  the  hands  of  a  person  expert  in  its  use,  by  a  person,  moreover,  who 
was  an  artist,  i.e..  a  person  equipped  to  make  sound  judgments  about  lines, 
curves,  proportions,  etc.  The  artist  of  that  moment  when  printing  was  in- 
vented who  furnished  the  fine  written  patterns  for  type  was  (luckily  for  print- 
ing) working  at  the  top  notch  of  a  fine  tradition  of  calligraphy.  He  was  making 
sound  judgments  about  lines  and  curves  and  proportions  of  letters.  He  had 
resurrected  an  ancient  distinguished  style  of  writing  and  had  added  to  it  the 
quality  of  his  own  fine  taste.  His  letters  flowed  from  his  pen  easily  and  simply, 
without  any  tricks  or  affectations  or  extraneous  embellishments.  He  was  sim- 
ple enough  and  artist  enough  to  let  the  implement  itself  (and  his  facile  hand) 
shape  the  product.  The  fine  qualities  of  this  artist's  letter-forms  were  carried 
over  into  the  metal  types  and  sealed  up  there,  like  butterflies  in  amber.  It  is 
argued,  however,  that  the  ascription  of  beauty  to  type  letters  by  this  route 
(i.e.,  via  the  standards  of  calligraphy)  is  false  logic.  If  the  natural  and  simple 
and  tastefully  controlled  use  of  an  implement  produces  a  fine  result,  why  not 
start  with  the  process  of  founding  type  instead  of  with  the  process  of  writing 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type? 
What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasajit  to  their  eyes?  Good 

(tzvo  point  leaded) 
List  of  Characters  in  Tivo-Lcttcr  Font 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&mCE 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^(E 

abcdefghijklmnopqrstuvwxyzaeoefiflfffnfH  1234567890  $£,.:;-"?!-—       ...  0 

@tb*ttii§[]%  y8y4%y2%%% 

abcdefghijklmnopqrstuvwxyzceoefiflfffflffl  1234567890  $£,.:;-"?!-  —...       () 

Matrix  hijormation :  9A116.  Lower  case  alphabet.  139  points.  Figures,  .0692;  coiiiiiia,  period  and  thin  space.  .0346.  Runs  in  90 
channel  maga/ine.  Code  word.  2AUM. 


532 


LINOTYPE  IONIC  No.  5  WITH  ITALIC 


10  PT. 


10  Point 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF 
ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF 
How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design.  And  what  they  see  in  a  good 
type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its  work.  It 
has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good 
tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to 
do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor 
"skinny"  and  weak,  no  waste  of  material  and  no  lack  of  strength.  And,  be- 
yond that,  the  chair  may  have  been  made  by  a  man  who  worked  out  in  it  his 
sense  of  fine  shapes  and  curves  and  proportions :  it  may  be,  actually,  a  work 
of  art.  The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or  your 
letter  (if  a  true  artist  made  it)  will  have,  besides  its  good  looks,  a  suitability 
to  the  nth  degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That  explains, 
in  a  way,  why  the  experts  rave  over  the  fine  shapes  of  letters;  but  it  fails  to 
explain  wherein  the  shapes  are  fine.  If  you  seek  to  go  further  with  the  in- 
quiry, theories  will  be  your  only  answer.  Here  is  a  theory  that  the  proponent 
thinks  may  have  sense  in  it:  Fine  type  letters  were,  in  the  first  place,  copies 
of  fine  written  letters.  Fine  written  letters  were  fine  because  they  were  pro- 
duced in  the  most  direct  and  simple  way  by  a  tool  in  the  hands  of  a  per^son 
expert  in  its  use,  by  a  person,  moreover,  who  was  an  artist,  i.e.,  a  person 
equipped  to  make  sound  judgments  about  lines,  curves,  proportions,  etc. 
The  artist  of  that  moment  when  printing  was  invented  who  furnished  the 
fine  written  patterns  for  type  was  (luckily  for  printing)  working  at  the  top 
notch  of  a  fine  tradition  of  calligraphy.  He  was  making  sound  judgments 
about  lines  and  curves  and  proportions  of  letters.  He  had  resurrected  an  an- 
cient distinguished  style  of  writing  and  had  added  to  it  the  quality  of  his 
own  fine  taste.  His  letters  flowed  from  his  pen  easily  and  simply,  without 
any  tricks  or  affectations  or  extraneous  embellishments.  He  was  simple 
enough  and  artist  enough  to  let  the  implement  itself  (and  his  facile  hand) 
shape  the  product.  The  fine  qualities  of  this  artist's  letter-forms  were  car- 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their 

(t-,v,t  pinni  1,-adrd) 
List  ,ii  (_'luiia.  /.-IS  ui    I -.K-.'-Iittii    [••■Itt 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&^(E 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 

abcdefghijklmnopqrstuvwxyzaeoefififffRffl  1234567890  $£,.:;-"?!-  — 

...  0  @ib*ttr  §  []  ':<  Vs  1/4  %  Vz  %  %  % 

abcdefghijklmnopqrstuvwxyzcecefiflfjffiffl  1234567890  $£,.:;-'?! 

()@m   n\ §  [ ]  %   Vs  1/4  %  1/2  %  %  78 

Matrix  Inlunnatioit :  10A390.  I.inver  Luse  alplialicl.  14(.  [kmiUs.  Fisiircs.  .0761:  coinni.i.  pcvioil  .iiul  thin  !*i>ace.  .0,i.S.  Runs  in  90 
rli.innci  maKa/ine.  C.ule  word,  Z.WVO. 


533 


12  PT. 


LINOTYPE   IONIC  No.  5  WITH  ITALIC 


12  Point 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TE 
OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN 
How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic 
design?  Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a 
specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superla- 
tively pleasant  to  their  eyes?  Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent  prac- 
tical fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all 
of  its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good 
chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly 
the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor 
"skinny"  and  weak,  no  waste  of  material  and  no  lack  of  strength. 
And,  beyond  that,  the  chair  may  have  been  made  by  a  man  who 
worked  out  in  it  his  sense  of  fine  shapes  and  curves  and  propor- 
tions: it  may  be,  actually,  a  work  of  art.  The  same  thing  holds  for 
shapes  of  letters.  And  your  chair,  or  your  letter  ( if  a  true  artist  made 
it)  will  have,  besides  its  good  looks,  a  suitability  to  the  7ith  degree  to 
be  sat  in,  or  stamped  on  paper  and  read.  That  explains,  in  a  way, 
why  the  experts  rave  over  the  fine  shapes  of  letters;  but  it  fails  to  ex- 
plain wherein  the  shapes  are  fine.  If  you  seek  to  go  further  with  the 
inquiry,  theories  will  be  your  only  answer.  Here  is  a  theory  that  the 
proponent  thinks  may  have  sense  in  it :  Fine  type  letters  were,  in  the 
first  place,  copies  of  fine  written  letters.  Fine  written  letters  were 
fine  because  they  were  produced  in  the  most  direct  and  simple  way 
by  a  tool  in  the  hands  of  a  person  expert  in  its  use,  by  a  person,  more- 
over, who  was  an  artist,  i.e.,  a  person  equipped  to  make  sound  judg- 
ments about  lines,  curves,  proportions,  etc.  The  artist  of  that  mo- 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic 
design?  Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a 
specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superla- 

(tivu  l^innl   lcadr,l  I 
List  of  Characters  in  Two-Lcttcr  Font 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 

ABCDEFGHIJKLMNOPQRSTUVWXZ&^CE 

abcdefghijklmnopqrstuvwxyzaeoefiflffffiffl  1234567890  $£,.:;-"?! 

-I—         .  .  .()ra'lb=:=ffl§[]%  1/81/4%  V2%%y8 

abcdefghijklmnopqrstuvwxyzceoeflfiffffiffi  1234567890  $£,.:;-"?! 

— ...     ()&m  t1:ll§[]%  V8V4%V2%%y8 

Matrix  h\jormatxvn  :  12A3JO.  Lower  case  alphabet.  163  points.  Figures,  .083;  comma,  period  and  thin  space.  .0415.  Runs  in  90 
channel  magazine.  Code  word.  ZABIT. 


534 


IONIC  No.  5  with  BOLD  FACE  No.  2  and  with  GOTHIC  No.  16 


5  Point 


5  PT. 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  PACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE 
MAKERS  IN  THE  ART  OP  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  OF  TYPE'  WHAT  DO  THEY  SEE  IN  IT?  WHY  IS 


How  is  one  to  assess  and  evaluate  a  type  lace  in  terms  o£ 
its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of 
printing  rave  over  a  specific  face  of  type?  What  do  they  see 
in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good 
design  is  always  practical  design.  And  what  they  see  in  a 
good  type  design  is,  partly,  its  excellent  practical  fitness  to 
perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its 
parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good 
chair  lias  all  of  its  parts  made  nicely  to  the  right  size  to  do 
exactly  the  work  that  the  chair  has  to  do.  neither  clumsy 
and  thick,  nor  "skinny"  and  weak,  no  waste  of  material 
and  no  lack  of  strength.  And.  beyond  that,  the  chair  may 
have  been  made  by  a  man  who  worked  out  in  it  his  sense  of 
fine  shapes  and  curves  and  proportions:  it  may  be.  actually, 
a  work  of  art.  The  same  thing  holds  for  shapes  of  letters 
And  your  chair,  or  your  letter  (if  a  true  artist  made  it)  will 
have,  besides  its  good  looks,  a  suitability  to  the  nth  degree 
to  be  sat  in,  or  stamped  on  paper  and  read.  That  explains, 
in  a  way,  why  the  experts  rave  over  the  fine  shapes  of  let- 
ters; but  it  fails  to  explain  wherein  the  shapes  are  fine.  If 
you  seek  to  go  further  with  the  inquiry,  theories  will  be 
your  only  answer.  Here  is  a  theory  that  the  proponent 
thinlcs  may  have  sense  in  it:  Pine  type  letters  were,  in  the 
first  place,  copies  of  fine  written  letters.  Pine  written  letters 
were  fine  because  they  were  produced  in  the  most  direct  and 
(solid) 

COUPLE,    JAPANESE;    excellent    cook,    butler,    chamber- 
maid, seamstress;  willing  and  respectful;   good  workers; 
entire    charge;    go    anywhere;    highly    recommended    from 
employer.  C  139  Herald  Tribune,  Downtown.  


-<rl   t-t  lines  to  the 


ch) 


List  of  CUaract 
ABCDEPGHIJKLMNOPQRSTUVWXYZ&^CE 


How  is  one  to  a.ssess  and  evaluate  a  type  face  in  terms  ol 
its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of 
printing  rave  over  a  specific  face  of  type?  What  do  they  see 
in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good 
design  is  always  practical  design.  And  what  they  see  in  a 
good  type  design  is.  partly,  its  excellent  practical  fitness  to 
perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its 
parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good 
chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do 
exactly  the  work  that  the  chair  has  to  do.  neither  clumsy 
and  thick,  nor  "skinny"  and  weak,  no  waste  of  material 
and  no  lack  of  strength.  And.  beyond  that,  the  chair  may 
have  been  made  by  a  man  who  worked  out  in  it  his  sense  of 
fine  shapes  and  curves  and  proportions:  it  may  be.  actually, 
a  work  of  art.  The  same  thing  holds  tor  shapes  of  letters. 
And  your  chair,  or  your  letter  (if  a  true  artist  made  it)  will 
have,  besides  its  good  looks,  a  suitability  to  the  nth  degree 
to  be  sat  in.  or  stamped  on  paper  and  read.  That  explains, 
in  a  way.  why  the  experts  rave  over  the  fine  shapes  of  let- 
ters; but  it  fails  to  explain  wherein  the  shapes  are  fine.  If 
you  seek  to  go  further  with  the  inquiry,  theories  will  be 
your  only  answer.  Here  is  a  theory  that  the  proponent 
thinks  may  have  sense  in  it:  Pine  type  letters  were,  in  the 
first  place,  copies  of  fine  written  letters.  Pine  written  letters 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of 
its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of 
printing  rave  over  a  specific  face  of  type?  What  do  thev  see 

',.»,•  p.nni  l,'„,l,;ll 
Tivu-Lcttcr  FunI 


ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 

abcdefghijklmnopqrstuvwxyza;a?fiflfIfIifIi  1234567890  $£..:;-"?  !-|—       . . .  ()ff''n-i*tt1[§[]'r  VaVn^M'^^'a^AyB 
abcdefghijklmnopqrstuvwxyiaecefiflffffifll  1234.567890  $£..:;-"?!-!—...        ( )(a)n>*tt1I§[]%  WA%VryiM'y» 


Matrix  hifor 
rlianiiel  iiiaK;i 


lati, 


.SA-4,    Lower  i.'ise  .ilpll.iliet.   .^4  imjiits.   J-'igures. 
ide  \v..r,l.  I.V.\k. 


.041.'^: 


]>eri'Kl  and  thin  sp; 


L-e.  .(LV 


-("LINOTYPE     )- 


5V2  PT. 


5V2  Point  with  Bold  Face  No.  2 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE 
FACE  IN  TERMS  OP  ITS  ESTHETIC  DESIGN?  WHY 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant 
to  their  eyes?  Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design  is.  partly,  its 
excellent  practical  fitness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good  chair  has  all  of 
its  parts  made  nicely  to  the  right  size  to  do  exactly 
the  work  that  the  chair  has  to  do,  neither  cluinsy  and 
thick,  nor  "skinny"  and  weak,  no  waste  of  material 
and  no  lack  of  strength.  And.  beyond  that,  the  chair 
may  have  been  made  by  a  man  who  worked  out  in  it 
hissense  of  fine  shapes  and  curves  and  proportions: 
it  may  be.  actually,  a  work  of  art.  The  same  thing 
holds  "for  shapes  of  letters.  And  yotir  chair,  or  your 
letter  (if  a  true  artist  made  iti  will  have,  besides  its 
good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in. 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  of  type?  What 
(s<'lidi 


COUPLE.   JAPANESE;   excellent   cook,   butler,   cham- 
bermaid,  seamstress;   willing   and  respectful;   good 
workers;  entire  charge;  go  anywhere;  highly  recom- 
mended  from  einployer.  C  139  Herald  T     Q  g  j  p  g  y 

I  set  14  lines  to  the  iuclt  with  sliort  descenders ) 

List  of  Clniractcrs 

ABCDEPGHIJKLMNOPQRSTUVWXYZ&^CE 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&.'ECE 

abcdefghijklmnopqrstuvwxyzceoeflflfrfliffl  1234567890 
alicdefghijklmnopqrstuvwxyzaeoefiflfffflffl  12S4r>(>7X!)(l 

S£..:;-"?!-| .   .  .  (I  C"   ll>*tt1SI   I'l       '8'4  =  8"'258='4''8 

$£,.:;-"7t_|_...         ()(ait)*t:i:11S[J%    >s  >4%12-'^»-!47h 


5^2  Point  with  Gothic  No.  16 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE 
FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY 
How  is  one  to  assess  and  evaluate  a  type  face  m  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant 
to  their  eyes?  Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design  is.  partly,  its 
excellent  practical  fitness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good  chair  has  all  of 
its  parts  made  nicely  to  the  right  size  to  do  exactly 
the  work  that  the  chair  has  to  do.  neither  clumsy  and 
thick,  nor  "skinny"  and  weak,  no  waste  of  material 
and  no  lack  of  strength.  And.  beyond  that,  the  chair 
may  have  been  made  by  a  man  who  worked  out  in  it 
his  sense  of  fine  shapes  and  curves  and  proportions: 
it  may  be,  actually,  a  work  of  art.  The  same  thing 
holds  for  shapes  of  letters.  And  your  chair,  or  your 
letter  (if  a  true  artist  made  it)  will  have,  besides  its 
good  looks,  a  suitability  to  the  nth  degree  to  be  sat  m. 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  of  type?  What 

(  solid  I 


COUPLE,   JAPANESE;   excellent   cook,    butler,   cham- 
bermaid,  seamstress;    willing   and   respectful;    good 
workers;   entire  charge:   go  anywhere;   highly    recom- 
mended from  employer.   C   139  Herald  T     Q  g  j  p  q  y 


et  14  lines  to  the  ineli  toith  short  deseende 


<l 


Two-Letter  Fonts 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&/ECE 

atacdefghijklmiiopqrstuvwxyzEea-fiflfTflifn   1234567890 
abcdefghijklmnopqrstuvwxyzseoefiflffffiffi   1234567890 

$£..:;-■"?!-;—        .  .  .Of-r  lb  *  t  tliSI  I',     'a  U  =8  '  -'■»  ■•4"8 
$£,.:;-••?!-,—  .  .  .         ()@TB*tt11§[]°o  Vgi-aVs'-i^. s^iiTs 


Tiv, 


s  of  fiunr. 
Figures. 


are  available  in  5]'^  I'oint  lonie  \'o. 
1234567890         1234567890 
TSM.'-.eiSyO         ]2845(!7890 


.l)4fi 


Matrix  Informati 
.(I.SO;  oinitii:i.  peri 


(.^'..  I'niiit  L.iiiL-  Nn.  5  with  lii.ld  Fact-  Nm.  .'1  ?'.-A4J 
ami  ttliii  s])a(t'.  .(IJ77.  Kuiis  in  '")  ch.iiinc!  niaga/iiie.  Cot 
Matiix  Infoinialion  l  =.  ■ ..  |',,i,ii  l,,nu  .N...  ?  with  Ih.thic  .Nu.  16)  .^'..A')4.  \  m\ 
Iieriinl  and  thin  siiaet-.  .IL'77.  Klliis  in  •'()  ih.tnncl  magazine.  .^'/  pnint  aligiin 
.^  Ii.iint.  Code  w.jril.  ZUUV. 


with  Ihild  Fare  .\o.  2: 
-  Figures.  .0.^0 

.nvver  case  alpliahct.  94  points.   Figures.  .046  or 
word.  I.VAZ. 

r  tase  alpliahet.  'M  jioints.  I'igurev.  .O.'.d;  tonnna. 
It.   Smallest   slug  on  which  this  face  will  cast  is 


535 


6  PT. 


LINOTYPE  IONIC  No.  5  WITH  BOLD  FACE  No.  2 


6  Point 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WH 
DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  OF  TYPE?  WHA 


How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  design 
is  always  practical  design.  And  what  they  see  in  a 
good  type  design  is,  partly,  its  excellent  practical 
fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  exactly 
the  work  that  the  chair  has  to  do,  neither  clumsy 
and  thick,  nor  "skinny"  and  weak,  no  waste  of 
material  and  no  lack  of  strength.  And,  beyond 
that,  the  chair  may  have  been  made  by  a  man 
who  worked  out  in  it  his  sense  of  fine  shapes  and 
curves  and  proportions:  it  may  be,  actually,  a 
work  of  art.  The  same  thing  holds  for  shapes  of 
letters.  And  your  chair,  or  your  letter  (if  a  true 
artist  made  it)  will  have,  besides  its  good  looks, 
a  suitability  to  the  nth  degree  to  be  sat  in.  or 
stamped  on  paper  and  read.  That  explains,  in  a 
way.  why  the  experts  rave  over  the  fine  shapes  of 
letters;  but  it  fails  to  explain  wherein  the  shapes 
are  fine.  If  you  seek  to  go  further  with  the  in- 
quiry, theories  will  be  your  only  answer.  Here  is 
How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
(solid) 


How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  design 
is  always  practical  design.  And  what  they  see  in  a 
good  type  design  is,  partly,  its  excellent  practical 
fitness  to  perform  its  work.  It  lias  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  exactly 
the  work  that  the  chair  has  to  do,  neither  clumsy 
and  thick,  nor  "skinny"  and  weak,  no  waste  of 
material  and  no  lack  of  strength.  And.  beyond 
that,  the  chair  may  have  been  made  by  a  man 
who  worked  out  in  it  his  sense  of  fine  shapes  and 
curves  and  proportions:  it  may  be.  actually,  a 
work  of  art.  The  same  thing  holds  for  shapes  of 
letters.  And  your  chair,  or  your  letter  (if  a  true 

I  one  point  leaded) 

How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  design 
is  always  practical  design.  And  what  th     g  j  p  q  y 

(set  with  short  descender s.  on  five  and  one-half  point  body) 


List  of  Characters  in  Two-Letter  Font 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&^(E 

abcdefghijklmnopqrstuvwxyzaecefiflfffflffl  1234567890  $£..:;-"?!-'—       .  .  .  ( )  rt  rb*tt1T§[  1%   '/8V4%V2%%T8 
abcdefghijklmnopqrstuvwxyzaeoefiflfffflffl  1234567890  $£,.:;-"?!-—•  •        ()@Ib*t«§[]%   ^^I^%14%%% 

Matrix  Information :  6A288,  Lower  case  alphabet.  104  points.  Figures.  .0484;  comma,  period  and  thin  space.  .0277.  Runs  in  90 
channel  magazine.  Code  word,  LYBE. 


6V2  PT. 


— C"    LINOTYPE  '""■) rr^rr^ 

6V2  Point 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN? 
WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  OF  T 


How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Wliy  do  tlie  pace- 
makers in  tlie  art  of  printing  rave  over  a  spe- 
cific face  of  type?  Wliat  do  they  see  in  it?  Why 
is  it  so  superlatively  pleasant  to  their  eyes? 
Good  (lesisn  is  always  practical  design.  And 
what  they  see  in  a  good  type  design  is.  partly, 
its  excellent  practical  fitness  to  perform  its 
work.  It  lias  a  "heft"  and  balance  in  all  of  its 
parts  just  right  for  its  size,  as  any  good  tool  has. 
Your  good  chair  has  all  of  its  parts  made  nicely 
to  the  right  size  to  do  exactly  tlie  work  tliat  tlie 
chair  has  to  do,  neither  clumsy  and  thick,  nor 
"skinny"  and  weak,  no  waste  of  material  and  no 
lack  of  strength.  And.  beyond  that,  the  chair 
may  have  been  made  by  a  man  who  worked  out 
in  it  his  sense  of  fine  shapes  and  curves  and 
proportions:  it  may  be,  actually,  a  work  of  art. 
The  same  thing  holds  for  shapes  of  letters.  And 
your  chair,  or  your  letter  (if  a  true  artist  made 
it)  will  have,  besides  its  good  looks,  a  suitability 
to  the  nth  degree  to  be  sat  in,  or  stamped  on 
How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  desisn?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  spe- 

I  solid) 


How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  spe- 
cific face  of  type?  What  do  they  see  in  it?  Why 
is  it  so  superlatively  pleasant  to  their  eyes? 
Good  design  is  always  practical  design.  And 
wliat  they  see  in  a  good  type  design  is,  partly, 
its  excellent  practical  fitness  to  perform  its 
work.  It  has  a  "heft"  and  balance  in  all  of  its 
parts  just  right  for  its  size,  as  any  good  tool  has. 
Your  good  chair  has  all  of  its  parts  made  nicely 
to  the  right  size  to  do  exactly  the  work  that  the 
chair  has  to  do,  neither  clumsy  and  thick,  nor 
"skinny"  and  weak,  no  waste  of  material  and  no 
lack  of  strength.  And,  beyond  that,  the  chair 
may  have  been  made  by  a  man  who  worked  out 

lone  point  leaded! 

How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  spe- 
cific face  of  type?  What  do  they  see  in  it?  Why 
is  it  so  superlatively  pleasant  to  their  eyes? 
Good  design  is  always  practical  desig  g  j  p  q  y 
(set  with  short  descenders,  on  six  point  body) 


List  of  Characters  in  Tzoo-Letter  Font 
ABCDEPGHIJKLMNOPQRSTUVWXYZ&^CE 
.\BCDEFGHIJKLMNOPQRSTUVWXYZ&.?:(E 

abcdefghljklmnopqrstuvwxyzaeoefiflfrffiffl  1234567890  $£..:; -"?!-| —        .  .  .  ()  (®rb*tt11§  []  % 

abc(lefghi.iklmnopqrstuvwxvziecefififffflffl  1234.567890  $£,.:;-"?!-| — .  .  .        ()  @Il}*t*TI§[]  % 

Matrix-  hiforniation  :  6I2A2.  Lower  case  alphabet.  110  points.  Figures.  .0553;  comma,  period  and  thin  space.  .0277.  Runs  in  90 
channel  magazine.  Code  word,  LYBU. 


536 


LINOTYPE  IONIC  No.  5  WITH  BOLD  FACE  No.  2 


6%  PT. 


6%  Point 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DES 
WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE 


How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it 
so  superlatively  pleasant  to  their  eyes?  Good  de- 
sign is  always  practical  design.  And  what  they 
see  in  a  good  type  design  is,  partly,  its  excellent 
practical  fitness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right 
for  its  size,  as  any  good  tool  has.  Your  good 
chair  has  all  of  its  parts  made  nicely  to  the  right 
size  to  do  exactly  the  work  that  the  chair  has 
to  do,  neither  clumsy  and  thick,  nor  "skinny" 
and  weak,  no  waste  of  material  and  no  lack  of 
strength.  And,  beyond  that,  the  chair  may  have 
been  made  by  a  man  who  worked  out  in  it  his 
sense  of  fine  shapes  and  curves  and  propor- 
tions: it  may  be,  actually,  a  work  of  art.  The 
same  thing  holds  for  shapes  of  letters.  And  your 
How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 

Irit  J.Ti-ll  f-vint   b<',ly) 


I.isI  :'i  f.  haiiu-trts  in  7;,'./- 

abcdefghijklmnopqrstuvwxyz&^ce 
abcdefghijklmnopqrstuvwxyz&;ece 

abcdefghijklmnopqrstuvwxvzcecefififfffiffl  1234567890  $£,.;;-"?!- 
abcdefghijklmnopqrstuvwxvzaeoefiflfffflffl  1234567890  $£,.:;-"?!- 


How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it 
so  superlatively  pleasant  to  their  eyes?  Good  de- 
sign is  always  practical  design.  And  what  they 
see  in  a  good  type  design  is,  partly,  its  excellent 
practical  fitness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right 
for  its  size,  as  any  good  tool  has.  Your  good 
chair  has  all  of  its  parts  made  nicely  to  the  right 
size  to  do  exactly  the  work  that  the  chair  has 
to  do,  neither  clumsy  and  thick  nor  "skinny" 
and  weak,  no  waste  of  material  and  no  lack  of 
strength.  And,  beyond  that,  the  chair  may  have 
been  made  by  a  man  who  worked  out  in  it  his 
sense  of  fine  shapes  and  curves  and  propor- 
tions: it  may  be,  actually,  a  work  of  art.  The 
same  thing  holds  for  shapes  of  letters.  And  your 
chair,  or  your  letter  (if  a  true  artist  made  it) 
will  have,  besides  its  good  looks,  a  suitability  to 

foil  .<cvt:n  ami  our-luilj  l^niiit  body  I 


—     .  ..o^fribntjiiin^o 
— ...      ()@n)*t+1is[]% 


Mat  I 
cb;nn 


In  I 


•  11.  6'4A-.  Lower  case  alljli.iliet.   1117  imints.    Fiuiires 
7  piiiiit  aligiliDeilt.  Smallest  slUK  mii  wliidi  tlii";  iai  e 


t-rind  an 
lit.  r.rtic 


i  thin  -.i>aec.  .OJ77.   Klin; 
w,.r<l.  I.VCI. 


;(     LINOTYPE     )- 


7  Point 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A 
DESIGN?  WHY  DO  THE  PACE-MAKERS  IN 
How  is  one  to  assess  and  evaluate  a  type  face 
in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over 
a  specific  face  of  type?  What  do  they  see  in 
it?  Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design  is, 
partly,  its  excellent  practical  fitness  to  per- 
form its  work.  It  has  a  "heft"  and  balance  in 
all  of  its  parts  just  right  for  its  size,  as  any 
good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  ex- 
actly the  work  "that  the  chair  has  to  do, 
neither  clumsy  and  thick,  nor  "skinny"  and 
weak,  no  waste  of  material  and  no  lack  of 
strength.  And,  beyond  that,  the  chair  may 
have  been  made  by  a  man  who  worked  out  in 
it  his  sense  of  fine  shapes  and  curves  and  pro- 
portions: it  may  be,  actually,  a  work  of  art. 
How  is  one  to  assess  and  evaluate  a  type  face 
in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over 


TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC 
THE  ART  OF  PRINTING  RAVE  OVER  A  SP 
How  is  one  to  assess  and  evaluate  a  type  face 
in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over 
a  specific  face  of  type?  What  do  they  see  in 
it?  Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design  is, 
partly,  its  excellent  practical  fitness  to  per- 
form its  work.  It  has  a  "heft"  and  balance  in 
all  of  its  parts  just  right  for  its  size,  as  any 
good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  tlie  right  size  to  do  ex- 
actly the  work  that  the  chair  has  to  do. 
neither  clumsy  and  thick,  nor  "skinny"  and 
weak,  no  waste  of  material  and  no  lack  of 
strength.  And,  beyond  that,  the  chair  may 
have  been  made  by  a  man  who  worked  out  in 
it  his  sense  of  fine  shapes  and  curves  and  pro- 
portions: it  may  be,  actually,  a  work  of  art. 

I. .II,-  />,.iii/  Irutlril ) 


list  ,'f  Charartr 


in  r-.vo-I.rttc 


ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&.^ECE 

abcdefghijklmnopqrstuvwxvzgeoefiflfffnffl  1234567890  $£,.:;-"?!-!— 

abcdefghijklmnopqrstuvwxyzspcefiflfffflffl  1234567890  $£,.: ;-"?!-—.  .  . 


7pt. 


Matiix  Iniv 
>b.uiin-I  iiiaL 


HI  ■  7A1-'-'.  l.ouer  la 
Ccle  wnr.l.  I.VDO. 


pi-i  ic.d  and  tliiii  sp.u 


537 


7^2  PT. 


LINOTYPE  IONIC  No.  5  WITH  BOLD  FACE  No.  2 


8pt. 


71/2  Point 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHE 
DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A 


How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design?  Why  do 
the  pace-makers  in  the  art  of  printing  rave 
over  a  specific  face  of  type?  What  do  they 
see  in  it?  Why  is  it  so  superlatively  pleas- 
ant to  their  eyes?  Good  design  is  always 
practical  design.  And  what  they  see  in  a 
good  type  design  is,  partly,  its  excellent 
practical  fitness  to  perform  its  work.  It  has 
a  "heft"  and  balance  in  all  of  its  parts  just 
right  for  its  size,  as  any  good  tool  has.  Your 
good  chair  has  all  of  its  parts  made  nicely 
to  the  right  size  to  do  exactly  the  work  that 
the  chair  has  to  do,  neither  clumsy  and 
thick,  nor  "skinny"  and  weak,  no  waste  of 
material  and  no  lack  of  strength.  And,  be- 
yond that,  the  chair  may  have  been  made 
How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design?  Why  do 
the  pace-makers  in  the  art  of  printing  rave 


How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design?  Why  do 
the  pace-makers  in  the  art  of  printing  rave 
over  a  specific  face  of  type?  What  do  they 
see  in  it?  Why  is  it  so  superlatively  pleas- 
ant to  their  eyes?  Good  design  is  always 
practical  design.  And  what  they  see  in  a 
good  type  design  is,  partly,  its  excellent 
practical  fitness  to  perform  its  work.  It  has 
a  "heft"  and  balance  in  all  of  its  parts  just 
right  for  its  size,  as  any  good  tool  has.  Your 

lone  point  leaded ) 

How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design?  Why  do 
the  pace-makers  in  the  art  of  printing  rave 
over  a  specific  face  of  type?  What  do  they 
see  in  it?  Why  is  it  so  superlatively  pleas- 
ant to  their  eyes?  Good  design  is     g  j  p  q  y 


(set  zvitlt  long  dcscc 
■Letter  Fnn 


Liit  .1/  Charaelei  .(  i, 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&/ECE 

abcdefghijklmnopqrstuvwxyzaecefiflfTflafln  1234567890  $£..::-"-- 

*  1 1 H  §  [  ]  %  '/s  V-i  %  1 '2  %  %  Ys 
abcdefghijklmnopqrstuvwxyzaeoefiflffffiffl  1234567890  $£,.:;-"-- 


ight  p><ntit  body 


()@lb 


()@n> 


Matrix  Information  :  7'1-A--  Lower  case  alphabet,  121  points.  Figures.  .0622;  comma,  perind  and  thin  space.  .0311.  Runs  in  90 
channel  magazine.  8  point  alignment.  Smallest  slug  on  which  this  face  will  cast  is  7^A  pciint.  ('ode  word.  Zli'U. 


:(,., c LINOTYPE   ')- 


8  Point 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHE 
DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER 


How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superla- 
tively pleasant  to  their  eyes?  Good  de- 
sign is  always  practical  design.  And  what 
they  see  in  a  good  type  design  is,  partly, 
its  excellent  practical  fitness  to  perform 
its  work.  It  has  a  "heft"  and  balance  in 
all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has 
all  of  its  parts  made  nicely  to  the  right 
size  to  do  exactly  the  work  that  the  chair 
has  to  do,  neither  clumsy  and  thick,  nor 
How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing 

(solid) 


How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superla- 
tively pleasant  to  their  eyes?  Good  de- 
sign is  always  practical  design.  And  what 
they  see  in  a  good  type  design  is,  partly, 
its  excellent  practical  fitness  to  perform 
its  work.  It  has  a  "heft"  and  balance  in 
all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has 
all  of  its  parts  made  nicely  to  the  right 
size  to  do  exactly  the  work  that  the  chair 
has  to  do,  neither  clumsy  and  thick,  nor 
"skinny"  and  weak,  no  waste  of  material 

ioiic  point  leaded  I 


List  of  Charaeters  in   Tteo-Lelter  Font 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&^ECE 

abcdefghijklmnopqrstuvwxyzseoefiflfffRflEl  1234567890  $£,.:  ;-"?!-i— 

abcdefghijklmnopqrstuvwxyzaeoefifiifffiflfl  1234567890  $£,.:;-"?!-  — 

*t*^§ [  ]  %  Vs  14  %  1/3  % M Vs 


.. .  ()@lb 
()@rt 


Mat, 
chain 


r  Information  : 
?1  maga/ine.  C( 


yA382.  Lower  case  alphal)et, 
■de  word.  LYEB. 


137  points.  Figures,  .0622;  comma,  period  and  thin  space,  ,0311.  Runs  in  90 


538 


LINOTYPE  IONIC  No.  5  WITH  BOLD  FACE  No.  2 


9  PT. 


9  Point 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type? 
What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good 
design  is  always  practical  design.  And  what  they  see  in  a  good  type  design  is, 
partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good 
chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly  the  work 
that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no 
waste  of  material  and  no  lack  of  strength.  And,  beyond  that,  the  chair  may 
have  been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and 
curves  and  proportions:  it  may  be,  actually,  a  work  of  art.  The  same  thing 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type? 
What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good 

(/«'.'  f"i'il  IcadcJ) 
I  iil   ,.l  i  l,„n:,  I, 'J  >   ;ii    I  ~.,'.'- L,-t  I ,' ,    l-..„! 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&i^CE 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&/E(E 

abcdef ghijklmnopqrstuvwxyzaecefififTffiffl  1234567890  $£,. : ;  -"?!-]—       . .  .  ( ) 

(?,mnm[]  %V8V4%i/2%y4% 

abcdefghijklmnopqrstuvwxyzaecefiflffffiffl  1234567890  $£,.:;-"?!-[—.  .  .        () 

@  iti*t$ii§[]  %y8y4%y3%%y8 

Matrix  hitci  unilicii  ','AH_'.  l-..ufr  <  nst-  alpliahet.  l.i'l  pc.uits.  Fmuies,  .ll(.y_';  coiiiiiia.  period  anil  tliiii  space.  .03Afi.  Runs  in  ■« 
ihaniiel  niaKa/nic.  I  ode  wor.l.  Z.\I1.\. 


-(  « LINOTYPE" ') 10  PT. 


10  Point 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF 
How  Is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design.  And  what  they  see  in  a  good 
type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its  work.  It 
has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good 
tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to 
do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their 

llivii  point  l,-n,l,;l> 
I  ist  .•!  i'li,ii;}rt.-i  s  ill  Tv.'-Lftlri    lunit 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 

abcdef  ghijklmnopqrstuvwxyzseoefiflfffiiffl  1234567890  $£,.:;-"?! -!— 
...()@lhn:!:':§[]';  >^^4  38i2%%'^8 

abcdefghijklmnopqrstuvwxyzajoefiflfTffiffl  1234567890  $£,.:;-"?!-  — 

0  @rb*\n%u%  ys  V4  %  Vz  %  %  % 

.l/(i^J.i    hijormatifii  :   KlA.'''-.    I  own   lasf  al|ilial.i-t ,   Ml,  poiiils.   ImnTes,  .(I7i>l  :  lonnna.  period  and  Ihin  spaie.  .Hi.S,   lUins  in  90 
ilianncl  inaKa/ine.  Code  wor.l.  ZAl-UK 


539 


12  PT. 


LINOTYPE  IONIC  No.  5  WITH  BOLD  FACE  No.  2 

12  Point 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TE 
OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic 
design?  Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a 
specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superla- 
tively pleasant  to  their  eyes?  Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent  prac- 
tical fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all 
of  its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good 
chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly 
the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor 
"skinny"  and  weak,  no  waste  of  material  and  no  lack  of  strength. 
And,  beyond  that,  the  chair  may  have  been  made  by  a  man  who 
worked  out  in  it  his  sense  of  fine  shapes  and  curves  and  propor- 
tions: it  may  be,  actually,  a  work  of  art.  The  same  thing  holds  for 
shapes  of  letters.  And  your  chair,  or  your  letter  (if  a  true  artist  made 
it )  will  have,  besides  its  good  looks,  a  suitability  to  the  nth  degree  to 
be  sat  in,  or  stamped  on  paper  and  read.  That  explains,  in  a  way, 
why  the  experts  rave  over  the  fine  shapes  of  letters;  but  it  fails  to  ex- 
plain wherein  the  shapes  are  fine.  If  you  seek  to  go  further  with  the 
inquiry,  theories  will  be  your  only  answer.  Here  is  a  theory  that  the 
proponent  thinks  may  have  sense  in  it:  Fine  type  letters  were,  in  the 
first  place,  copies  of  fine  written  letters.  Fine  written  letters  were 
fine  because  they  were  produced  in  the  most  direct  and  simple  way 
by  a  tool  in  the  hands  of  a  person  expert  in  its  use,  by  a  person,  more- 
over, who  was  an  artist,  i.e.,  a  person  equipped  to  make  sound  judg- 
ments about  lines,  curves,  proportions,  etc.  The  artist  of  that  mo- 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic 
design?  Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a 
specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superla- 

(l-ji'o  point  leaded) 
List  of  Characters  in  Tzvo-Lettcr  Font 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&^(E 

abcdefghijklmnopqrstuvwxyzsecefififfffiffi  1234567890  $£,.:;-"?! 

-I—  .  .  .  (  )  fO^lb- ttl[§  [  1  %  %  1/4  %  1/2  %  %  % 

abcdefghijklmnopqrstuvwxyzseoefififfffiffl  1234567890  $£,.:;-"?! 

-I—.  .  .  ()@lB*ffl§[]%V8l/4%y2%3/4% 

Matrix  Injormation  :  12A36S.  Lower  case  alphabet.  16.?  points.  Figures.  .083;  coninia,  period  and  thin  space.  .0415.  Runs  in  90 
channel  magazine.  Code  word.  ZAFVU. 


540 


AN  AUTHENTIC  REVIVAL  OF  THE  FAMOUS  SEVEN- 
TEENTH CENTURY  BOOK  FACE  OF  ANTON  JANSON 


I    LINOTYPE  JANSON    | 


Some  time  between  1 660  and  1 687,  Anton  Janson,  punchcutter  and  type- 
founder then  practicing  in  Leipsic,  issued  the  charming  book  type  which 
bears  his  name.  In  recutting  this  fine  old  face,  Linotype  letter-draughts- 
men and  punchcutters  have  been  fortunate  in  retaining  its  sharpness  and 
sparkle,  as  well  as  "the  beautiful  clarity  and  comeliness  of  its  drawing" 
which,  in  the  judgment  of  a  foremost  critic,  make  this  "one  of  the  very 
finest  types  now  available!' 

Definite  information  concerning  Anton  Janson  is  difficult  to  obtain.  He 
practiced  type  founding  in  Leipsic,  as  mentioned  above;  his  types  being 
shown  for  the  first  time  in  a  specimen  sheet  issued  there  about  1675. 
Whether  or  not  he  was  of  Dutch  ancestry  is  not  clear.  In  Typographia 
Jnbihms,  a  book  of  printing  by  Friedrich  Christian  Lesser  issued  in  Leipsic 
about  1740,  it  is  mentioned  that  Wolffgang  Dietrich  Erhardt  of  Leipsic 
bought  the  Janson  matrices  from  the  heirs  of  Edling  in  Holland.  Edling, 
also  a  Leipsic  typefounder,  was  Janson's  successor  and  may  have  been  his 
son-in-law.  He  issued  a  specimen  sheet  in  1689  showing  the  Janson  types. 
Whether  or  not  his  heirs  brought  the  Janson  punches  or  matrices  to  Hol- 
land is  not  known,  yet  the  acquisition  of  these  matrices  in  Holland  by 
Erhardt  may  explain  why  the  Janson  face  has  been  known  as  a  Dutch  type. 

The  Linotype  recutting  of  Janson  was  made  direct  from  type  cast  from 
the  original  matrices  now  in  the  possession  of  the  Stempel  foundry  in 
Frankfort,  A. iM.  Linotype  Janson  is  available  in  five  sizes,  from  8  to  14 
point  inclusive,  each  made  in  combination  with  italic  and  small  capitals. 

MERGENTHALER    LINOTYPE    COMPANY 

BROOKLYN,   NEW   YORK 


LIST   OF   CHARACTERS    IN    TWO-LETTER    FONTS 
WITH    ITALIC   AND   SMALL  CAPS 

ABCDEFGHIJKLlMNOPQRSTUVWXYZ 
ABCDEFGHIJKLMNOPQRSTUVWXYZ 

ABCDEFGHIJKLMNOPQRSTUVWXYZ 

12345     abcdefghijklmnopqrstuvwxyz     67890 
A'BCDE     abcdefghijkhimopqrstuvwxyz     fgrtj 

,.:;?!(|)*"--^CEtb&i:$.  ..  fiflffffiffl 

, .  s  ;  ?  /  A  I  Q  o  ' '  —  /EQi  ib  -^  £  V  "L        .   .  .  flY  ff  W  M 

12345   z&:()flffiffl$jEoc   67890   ;: 

12S4S     u<z^:()flfflffi$cea^     61890     ]  I 


l/„    1/    3/„    1/    5/3/^7/3        K  H  X  Z  &  /E  CE       @        %  t  n   ^  -  [   ] 


/4     78     72 


<"°  LINDTYPE"'"> 


ONE-LETTER    ROMAN    LOGOTYPES 
SPECIAL   NO.   5 


fa  f e  f o  f r  f s  ft  f u  f y  ffa  ff e  ff o  ffr  ff s  ff u  if y  f,  f.  f-  If,  ff .  if-  f  ff 

ONE-LETTER    ITALIC    LOGOTYPES 

FA  PA  TA  VA  WA  YA  Th  Wh 

f  aj  aff  ef  eff  hj  if  iff  kj  If  mji7f  of  off  pf  rf  sf  tf  iif  tiff  yf  If  Of 

ONE-LETTER     ITALIC 
SPECIAL   NO.   5 

abcdefghijklmnopqrstiivwxyz 

TRUE-CUT    SMALL    CAPS 
SPECIAL   NO.   5 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

TWO-LETTER    LOGOTYPES 

Ta  Te  To  Tr  Tu  Tw  Ty  Va  Ve  Vo  Ya  Ye  Yo  Wa  We  Wi  Wo  Wr  E 
7;?  Te  To  Tr  Tu  Tw  Ty  Va  Ve  Vo  Ya  Ye  Yo  Wa  We  Wi  Wo  WrP. 

fa  f e  f o  f r  f u  if  a  ff e  iTo  iTr  ff u 
fa  fe  fo  fr  fu  ffa  ffe  ffo  ffr  ffu 

^^ Paragraph  mark  used  in  this  specimen  is  Character  No.  26,  A  384. 


542 


8  pt.Jcaded  I  e^  2  pts.  Linotype  Janson 

How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  VViiy  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  tliey  sec  in  it?  Wiiy  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  design  is  always  practical  design.  And  what  they  see  in 
a  good  type  design  is,  parti)-,  its  excellent  practical  fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy 
and  thick,  nor  "skinny"  and  weak,  no  waste  of  material  and  no  lack  of  strength.  And,  beyond 
that,  the  chair  may  have  been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and 
curves  and  proportions:  it  may  be,  actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of  let- 
ters. And  your  chair,  or  your  letter  (if  a  true  artist  made  it)  will  have,  besides  its  good  looks,  a 
suitability  to  the  nxh  degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That  explains,  in  a  way, 
why  the  experts  rave  over  the  fine  shapes  of  letters;  but  it  fails  to  explain  wherein  the  shapes  arc 
fine.  If  you  seek  to  go  further  with  the  inquiry,  theories  will  be  your  only  answer.  Here  is  a  theory 
that  the  proponent  thinks  may  have  sense  in  it:  Fine  t\'pc  letters  were,  in  the  first  place,  copies  of 
fine  written  letters.  Fine  written  letters  were  fine  because  they  were  produced  in  the  most  direct 
and  simple  way  by  a  tool  in  the  hands  of  a  person  expert  in  its  use,  by  a  person,  moreover,  who 
was  an  artist  i.e.,  a  person  equipped  to  make  sound  judgments  about  lines,  curves,  and  propor- 
tions, etc.  The  artist  of  tiiat  moment  when  printing  was  invented  who  furnished  the  fine  written 
patterns  for  type  was  (luckily  for  printing)  working  at  the  top  notch  of  a  fine  tradition  of  callig- 
raphy. He  was  making  sound  judgments  about  lines  and  curves  and  proportions  of  letters.  He  had 
resurrected  an  ancient  distinguished  stvle  of  \\'riting  and  had  added  to  it  the  quality  of  his  own 
fine  taste.  His  letters  flowed  from  his  pen  easily  and  simply,  without  any  tricks  or  affectations  or 
extraneous  embellishments.  He  \\as  simple  enough  and  artist  enough  to  let  the  implement  itself 
(and  his  facile  hand)  shape  the  product.  The  fine  qualities  of  this  artist's  letter-forms  were  carried 
over  into  the  metal  types  and  sealed  up  there,  like  butterflies  in  amber.  It  is  argued,  however,  that 
the  ascription  of  beauty  to  type  letters  by  this  route  {i.e.,  via  the  standards  of  calligraphy)  is  false 
logic.  If  the  natural  and  simple  and  tastefully  controlled  use  of  an  implement  produces  a  fine  re- 
sult, why  not  start  with  the  process  of  founding  t\'pe  instead  of  with  the  process  of  writing  with  a 
pen?  Why  not  cut  punches  and  strike  matrices  and  cast  type  metal  simph'  and  naturally  and  taste- 
fully, and  make  t)'pcs  that  reflect  a  suitable  artistic  use  of  the  process  of  t}pcfounding?  I  think  that 
the  argument  is  esthetically  sound.  There  is  no  common  opinion  about  the  legibility  or  grace  or 
vigor  of  various  type  faces  that  can  be  quoted  as  authority.  One  man's  opinion  is  as  good  as  an- 
other's. Each  commentator  has  his  own  pet  designs  and  his  own  reasons  for  thinking  them  good. 
Some  kind  of  comment  on  the  various  type  faces  in  general  use  is  desirable  in  this  section  merely 
for  the  purpose  of  bringing  the  argument  to  a  focus  on  actual  examples.  The  comment  that  fol- 
lows has  no  more  weight  than  tiiis:  it  is  what  a  given  person  thinks  about  the  type  faces  that  arc  at 

(Onc-Lcttcr  Italic) 

{The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  letter  ( if  a  true  artist  made  it )  will 
have,  besides  its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or  stainpcd  on  paper  and  read.  That 
explains,  hi  a  way,  luhy  the  experts  rave  over  the  fine  shapes  of  letters;  but  it  fails  to  explain  wherein  the 
shapes  are  fine.  If  you  seek  to  go  further  with  the  inquiry,  theories  will  be  your  only  answer.  Here  is  a  theory 

ABCDFFGHnKL.MNOPQRSTUVWXYZ& 

ABCDEFGHl)KLMNOPQnSTUVWXYZ& 

ABCDEFGHIJKLMNOPQRSTUVWXVZ& 

abcdefghijklmnopqrstuvwxyzfiflfl'ffiffl  (S /,.:;'-'?!  *+)  12^4567890 

abcdefghijklnniopqrstnvwxyzfiflffffifft  ( $  £ ,.:;''-?!  +  '  '  2^4^618^0 

TRUE-CUT    SMALL    CAPS,    SPECIAL    NO.    5 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ONE-LETTER    ITALIC,    SPECIAL    NO.    5 

abcdefghijklmnopqrsttivwxyz 

.Matrix  Iiitormation:  8A436.  Lower  case  alphabet.  Ill  points.  Figures.  .0553:  comma,  period  and  tliiii  space.  .n_^77.  Riin.s  in  'irt 
channel  magazine.  Smallest  slus  on  which  this  face  will  cast  is  0  point.  Code  word.  Z.AFO.';. 


543 


Linotype  Janson  io  p?.,  leaded  i  &  2  pts. 

How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do 
the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they 
see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always 
practical  design.  And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent  prac- 
tical fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right 
for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the 
right  size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick, 
nor  "skinny"  and  weak,  no  waste  of  material  and  no  lack  of  strength.  And,  beyond 
that,  the  chair  may  have  been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine 
shapes  and  curves  and  proportions:  it  may  be,  actually,  a  work  of  art.  The  same 
thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  letter  (if  a  true  artist  made 
it)  will  have,  besides  its  good  looks,  a  suitability  to  the  72th  degree  to  be  sat  in,  or 
stamped  on  paper  and  read.  That  explains,  in  a  way,  why  the  experts  rave  over  the 
fine  shapes  of  letters;  but  it  fails  to  explain  wherein  the  shapes  are  fine.  If  you  seek  to 
go  further  with  the  inquiry,  theories  will  be  your  only  answer.  Here  is  a  theory  that 
the  proponent  thinks  may  have  sense  in  it:  Fine  type  letters  were,  in  the  first  place, 
copies  of  fine  written  letters.  Fine  written  letters  were  fine  because  they  were  pro- 
duced in  the  most  direct  and  simple  way  by  a  tool  in  the  hands  of  a  person  expert  in 
its  use,  by  a  person,  moreover,  who  was  an  artist,  i.e.,  a  person  equipped  to  make 
sound  judgments  about  lines,  curves,  proportions,  etc.  The  artist  of  that  moment 
when  printing  was  invented  who  furnished  the  fine  written  patterns  for  type  was 
(luckily  for  printing)  working  at  the  top  notch  of  a  fine  tradition  of  calligraphy.  He 
was  making  sound  judgments  about  lines  and  curves  and  proportions  of  letters.  He 
had  resurrected  an  ancient  distinguished  style  of  writing  and  had  added  to  it  the 
quality  of  his  own  fine  taste.  His  letters  flowed  from  his  pen  easily  and  simply,  with- 
out any  tricks  or  affectations  or  extraneous  embellishments.  He  was  simple  enough 
and  artist  enough  to  let  the  implement  itself  (and  his  facile  hand)  shape  the  product. 
The  fine  qualities  of  this  artist's  letter-forms  were  carried  over  into  the  metal  types 

(One-Letter  Italic) 

{'The  same  thing  holds  jor  shapes  of  letters.  And  your  chair,  or  your  letter  (if  a  true  artist 
made  it)  ivill  have,  besides  its  good  'ooks,  a  suitability  to  the  nth  degree  to  be  sat  i?i,  or 
stamped  on  paper  and  read.  That  explains,  in  a  way,  why  the  experts  rave  over  the  fine 
shapes  of  letters  but  it  fails  to  explain  wherein  the  shapes  are  fine.  If  you  seek  to  go  further 

ABCDEFGHI JKLMNOPQRSTU  VWXYZ  & 
ABCDEFGHIJKLMNOFQRSTUVWXYZ& 

ABCDEFGHI  JKLMNOPQRSTUy\VXYZ& 

abcdefghijklmnopqrstuvwxyzfiflff'flifll  ($_^ ,.:;'-'?  !*t)  1234567890 
abcdefghijkhmropqrstuvwxyzfiflffffiffl  ($£,.:;'- Ff  i)  12^4^6-18^0 

TRUE-CUT    SMALL    CAPS,    SPECIAL    NO.    5 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ONE-LETTER     ITALIC,    SPECIAL    NO.    5 

abcdefghijklmnopqrstuvwxyz 

Matrix  Information:  10A388.  Lower  case  alphabet,  131  points.  Figures,  .0692;  comma,  period  and  thin  space,  .0346.  Runs  in  90 
channel  magazine.  Smallest  slug  on  which  this  face  will  cast  is  11  point.  Code  word,  ZAFOY. 


544 


1 1  pt.Jeaded  i  (Z^  2  pts.  Linotype  Janson 

How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type? 
What  do  they  see  in  it?  Why  is  it  so  superhitively  pleasant  to  their  eyes?  Good 
design  is  always  practical  design.  And  what  they  see  in  a  good  type  design  is, 
partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has  a  "heft"  and  bal- 
ance in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good 
chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly  the  work  that 
the  chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste 
of  material  and  no  lack  of  strength.  And,  beyond  that,  the  chair  may  have  been 
made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and  curves  and 
proportions:  it  may  be,  actually,  a  work  of  art.  The  same  thing  holds  for  shapes 
of  letters.  And  your  chair,  or  your  letter  (if  a  true  artist  made  it)  will  have,  be- 
sides its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped  on 
paper  and  read.  That  explains,  in  a  way,  why  the  experts  rave  over  the  fine 
shapes  of  letters;  but  it  fails  to  explain  wherein  the  shapes  are  fine.  If  you  seek  to 
go  further  with  the  inquiry,  theories  will  be  your  only  answer.  Here  is  a  theory 
that  the  proponent  thinks  may  have  sense  in  it:  Fine  type  letters  were,  in  the 
first  place,  copies  of  fine  written  letters.  Fine  written  letters  were  fine  because 
they  were  produced  in  the  most  direct  and  simple  way  by  a  tool  in  the  hands  of 
a  person  expert  in  its  use,  by  a  person,  moreover,  who  was  an  artist,  i.e.,  a  person 
equipped  to  make  sound  judgments  about  lines,  curves,  proportions,  etc.  The 
artist  of  that  moment  when  printing  was  invented  who  furnished  the  fine  writ- 
ten patterns  for  type  was  (luckily  for  printing)  working  at  the  top  notch  of  a 
fine  tradition  of  calligraphy.  He  was  making  sound  judgments  about  lines  and 
curves  and  proportions  of  letters.  He  had  resurrected  an  ancient  distinguished 

(Onc-Lcttcr  Italic) 

{The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  letter  (if  a  true 
artist  made  it)  ivill  have,  besides  its  good  looks,  a  sttitability  to  the  nth  degree  to  he  sat  in, 
or  stamped  on  paper  and  read.  That  explains,  in  a  ivay,  ivhy  the  experts  rave  over  the 
fine  shapes  of  letters;  but  it  fails  to  explain  wherein  the  shapes  are  fine.  If  yoii  seek  to  go 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflffffiffl  ($ /^, .:;'-'? !*t)  1234567890 

abcdef ghi'jklnmopqrstiivwxyzfifijf ffiffl {$£,. :;''-?!  t j  i2^^^6n8^o 

TRUE-CUT    SMALL    CAPS,    SPECIAL    NO,    5 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ONE-LETTER     ITALIC,    SPECIAL    NO.    5 

abcdefghijkhmopqrstiivivxyz 

Matrix  Injormation  :  IIAIIH.  Lower  case  alphabet.  139  points.  Figures.  .07^1  :  cnimtia.  period  aiui  tliiii  space,  .o.^.s.  Runs  in  90 
channel  magazine.  Smallest  slug  on  which  this  face  will  cast  is  12  point.  Code  word.  ZAFPA. 


545 


Linotype  Janson  i  2  pt.,  leaded  i  &  2  pts. 

How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design.  And  what  they  see  in  a  good 
type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its  work.  It 
has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good 
tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to 
do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor 
"skinny"  and  weak,  no  waste  of  material  and  no  lack  of  strength.  And,  be- 
yond that,  the  chair  may  have  been  made  by  a  man  who  worked  out  in  it 
his  sense  of  fine  shapes  and  curves  and  proportions:  it  may  be,  actually,  a 
work  of  art.  The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or 
your  letter  (if  a  true  artist  made  it)  will  have,  besides  its  good  looks,  a  suit- 
ability to  the  72th  degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That 
explains,  in  a  way,  why  the  experts  rave  over  the  fine  shapes  of  letters;  but 
it  fails  to  explain  wherein  the  shapes  are  fine.  If  you  seek  to  go  further  with 
the  inquiry,  theories  will  be  your  only  answer.  Here  is  a  theory  that  the 
proponent  thinks  may  have  sense  in  it:  Fine  type  letters  were,  in  the  first 
place,  copies  of  fine  written  letters.  Fine  written  letters  were  fine  because 
they  were  produced  in  the  most  direct  and  simple  way  by  a  tool  in  the 
hands  of  a  person  expert  in  its  use,  by  a  person,  moreover,  who  was  an  artist, 
i.e.,  a  person  equipped  to  make  sound  judgments  about  lines,  curves,  pro- 

(Onc-I.ctter  Italic) 

{[  The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  letter  (if  a 
true  artist  made  it)  will  have,  besides  its  good  looks,  a  suitability  to  the  nth  degree 
to  be  sat  in,  or  stamped  on  paper  and  read.  That  explains,  in  a  way,  why  the  ex- 
perts rave  over  the  fine  shapes  of  letters;  but  it  fails  to  explain  wherein  the  shapes 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ABCDEFGH1JKLMNOPQRSTUVWXYZ& 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflffffiffl  ($  ;/^,.:;'-'?!*t)  1234567890 
abcdefghijkl?nnopqrstuvwxyzfifljfffiffi($  £,.:;'- ^f  i )  i2^^j6'j8po 

TRUE-CUT    SMALL    CAPS,    SPECIAL    NO.    5 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ONE-LETTER    ITALIC,    SPECIAL    NO.    5 

abcdefghijklmnopqrstuvwxyz 

Matrix  Information:  12A318.  Lower  case  alphabet,  148  points.  Figures,  .083;  comma,  period  and  thin  space,  .0-115.  Runs  in  90 
channel  magazine.  Smallest  slug  on  which  this  face  will  cast  is  13  point.  Code  word,  ZABS.^. 


546 


14  pt.,  leaded  i  &  4  pts.  Linotype  Janson 

How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic 
design?  Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a 
specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superla- 
tively pleasant  to  their  eyes?  Good  design  is  always  practical  de- 
sign. And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent 
practical  fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all 
of  its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair 
has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly  the  work 
that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and 
weak,  no  waste  of  material  and  no  lack  of  strength.  And,  beyond 
that,  the  chair  may  have  been  made  by  a  man  who  worked  out  in  it 
his  sense  of  fine  shapes  and  curves  and  proportions:  it  may  be,  ac- 
ually,  a  work  of  art.  The  same  thing  holds  for  shapes  of  letters.  And 
your  chair,  or  your  letter  (if  a  true  artist  made  it)  will  have,  besides 
its  good  looks,  a  suitability  to  the  7/th  degree  to  be  sat  in,  or  stamped 
on  paper  and  read.  That  explains,  in  a  way,  why  the  experts  rave 


(One-Letter  Italic) 


{  The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  letter 
(if  a  true  artist  luade  it)  will  have,  besides  its  good  looks,  a  suitability  to 
the  nth  degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That  explains,  in 
a  way,  why  the  experts  rave  over  the  fine  shapes  of  letters;  hut  it  fails  to  ex- 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&  1234567890 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&i2S4)678po 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflffffiffl  (%  /,.:;'-'? !*t) 
abcdefghijkhnnopqrstJivwxy zfififfffifft  ($  £,. :;'-' '""f  t ) 

TRUE-CUT    SMALL    CAPS,    SPECIAL    NO,    5 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ONE-LETTER     ITALIC,    SPECIAL    NO.    5 

abcdefghijkhnnopqrstuvwxyz 

Matrix  htfprmation  :  14A17^.  I^ower  case  alpliahet.  165  points.  Figures,  .()''68;  toimna.  peri<Kl  and  thin  spare.  .04S-1.  Runs  in  VO 
channel  magazine.  13  point  alit^nnient.  Smallest  sIuk  on  which  this  lace  will  cast  is  14  point.  Code  word.  ZACEZ. 


547 


Linotype  Janson  Coviparison  oj Sizes 

8  Point  Janson  with  Italic  and  Small  Caps  (8A436)  Lower  case  alphabet,  HI  points.  Figures,  .0553 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTH 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  tlie  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  AVhy  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  design  is  always  practical  design.  And  what  they  1234 
HOW  IS  ONE  to  assess  and  evahiate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  vbcd 


10  Point  Janson  with  Italic  and  Small  Caps  (10A388)  Lower  case  alphabet.  131  points.  Figures,  .0692 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  O 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design.'  Why  do 
the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they 
see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  1 234 
HOW  IS  ONE  to  assess  and  evahiate  a  type  face  in  terms  of  its  esthetic  design  vbcd 


11  Point  Janson  with  Italic  and  Small  Caps  (llAn8)  Lower  case  alphabet.  139  points.  Figures,  .0761 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TER 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type? 
What  do  they  see  in  it?  W^hy  is  it  so  superlatively  pleasant  to  their  eyes?  1 234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  vbcd 


12  Point  Janson  with  Italic  and  Small  Caps  (12A318)  Lower  case  alphabet,  148  points.  Figures.  .083 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN 

How  is  one  to  assess  and  eyak.ate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  raye  oyer  a  specific  face  of 
type?  W^hat  do  they  see  in  it?  Why  is  it  so  superlatiyely  pleasant  to  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esth  vbcd 


14  Point  Janson  with  Italic  and  Small  Caps  (14A178)  Lower  case  alphabet.  165  points.  Figures,  .0968 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FA 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic 
design?  Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a 
specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  vbcd 


548 


-(tp.0.  LINOTYPE^ 


LINING 

AND  JOBBING 

FACES 


LINING  MEMPHIS 
LINING  METRO 

CARD   GOTHIC   MEDIUM 
CARD  GOTHIC  BOLD 

GOTHIC  NO.  29 
GOTHIC  NO.  30 


GOTHIC  NO.  31 
GOTHIC   NO.  32 
GOTHIC   NO.  33 
BOLD  FACE   NO.  9 
GOTHIC   NO.  25 
GOTHIC   NO,  26 


AND 


GREETING  CARD  FACES  including  CASLON  TEXT 


MERGENTHALER    LINOTYPE   COMPANY,    BROOKLYN,   N.   Y. 

NEW  YORK  CITY-  CHICAGO  -SAN   FRANCISCO-NEW  ORLEANS-CANADIAN   LINOTYPE, 
LIMITED,  TORONTO  -  REPRESENTATIVES   IN   THE  PRINCIPAL  CITIES  OF  THE  WORLD 


Where  the 
Various  Sizes 
of  Linotype 
Lining  Faces 
Will  Run 


The  table  at  right  shows  at  a  glance  where 
a  given  size  of  a  series  will  run  in  the  90 
channel  magazine  according  to  Keyboard 
Diagram  No.  98: 

Alignment 

The  comparative  alignments  of  the  Lining 
Faces,  together  with  the  slug  bodies  on 
which  they  will  cast,  are  as  follows:  The 
various  sizes  of  6  point  in  each  series  are 
on  the  same  alignment  and  will  cast  on  a 
fe  point  slug.  The  four  sizes  of  12  point 
in  the  Memphis  and  Metro  series  are  on 
the  same  alignment  and  will  cast  on  a  12 
point  slug.  The  12  point  size  of  Gothic  No. 
25  with  No.  26  is  on  15  point  alignment 
and  will  cast  on  a  12  point  slug.  The  vari- 
ous sizes  of  each  of  the  other  12  point 
series  are  on  the  same  alignment  and  will 
cast  on  a  14  point  slug. 

To  align  any  of  the  6  point  sizes  with 
the  12  point,  in  the  Gothic  No.  29  with 
No.  30,  Gothic  No.  31  with  No.  32,  Gothic 
No.  31  with  No.  33,  Bold  Face  No.  9  with 
Gothic  No.  31,  and  Gothic  No.  32  with 
No.  33  series,  cast  the  12  point  on  a  6 
point  slug,  overhanging,  and  the  6  point 
line  on  the  second  slug  will  align  at  the 
bottom  with  the  12  point  overhanging 
character. 

The  8  point  size  of  Gothic  No.  25  with 
No.  26  is  on  9  point  alignment  and  will 
cast  on  an  8  point  slug;  the  10  point  size 
is  on  11  point  alignment  and  will  cast  on  a 
10  point  slug. 


NAME  OF  FACE 


6  Memphis  Light  with  Memphis  Bold 
6a  Memphis  Light  with  Memphis  Bold 
6b  Memphis  Light  with  Memphis  Bold 
12  Memphis  Light  with  Memphis  Bold 
12a  Memphis  Light  with  Memphis  Bold 
12b  Memphis  Light  with  Memphis  Bold 
12c  Memphis  Light  with  Memphis  Bold 

6  Metromedium  with  Metrothin 
6a  Metromedium  with  Metrothin 
6b  Metromedium  with  Metrothin 
12  Metromedium  with  Metrothin 
12a  Metromedium  with  Metrothin 
12b  Metromedium  with  Metrothin 
12c  Metromedium  with  Metrothin 


6 

12 


Card  Gothic  Medium  with  Bold 
Card  Gothic  Medium  with  Bold 


6    Gothic  No. 

6a  Gothic  No. 

6b  Gothic  No. 

6c  Gothic  No. 
12  Gothic  No. 
12a  Gothic  No. 
12b  Gothic  No. 
12c  Gothic  No. 

18    Gothic  No. 

18a  Gothic  No. 

18    Gothic  No.  30 
18a  Gothic  No.  30 


29  with 
29  with 
29  with 
29  with 
29  with 
29  with 
29  with 
29  with 

29 

29 


6    Gothic  No. 

6a  Gothic  No. 

6b  Gothic  No. 

6c  Gothic  No. 
12  Gothic  No. 
12a  Gothic  No. 
12b  Gothic  No. 
12c  Gothic  No. 
12d  Gothic  No. 


31  with 
31  with 
31  with 
31  with 
31  with 
31  with 
31  with 
31  with 
31  with 


Gothic  No.  30 

Gothic  No.  30 
Gothic  No.  30 
Gothic  No.  30 
Gothic  No.  30 
Gothic  No.  30 
Gothic  No.  30 
Gothic  No.  30 


Gothic  No.  32 

Gothic  No.  32 
Gothic  No.  32 
Gothic  No.  32 
Gothic  No.  32 
Gothic  No.  32 
Gothic  No.  32 
Gothic  No.  32 
Gothic  No.  32 


18    Gothic  No.  31 

18a  Gothic  No.  31 

6    Gothic  No.  31  with  Gothic  No.  33 

6a  Gothic  No.  31  with  Gothic  No.  33 

6b  Gothic  No.  31  with  Gothic  No.  33 

6c  Gothic  No.  31  with  Gothic  No.  33 

12c  Gothic  No.  31  with  Gothic  No.  33 


6    Bold  Face  No. 

6a  Bold  Face  No. 

6b  Bold  Face  No. 

6c  Bold  Face  No. 
12  Bold  Face  No. 
12a  Bold  Face  No. 
12b  Bold  Face  No. 
12c  Bold  Face  No. 
12d  Bold  Face  No. 


9  with 
9  with 
9  with 
9  with 
9  with 
9  with 
9  with 
9  with 
9  with 


Gothic  No.  31 

Gothic  No.  31 
Gothic  No.  31 
Gothic  No,  31 
Gothic  No.  31 
Gothic  No.  31 
Gothic  No.  31 
Gothic  No.  31 
Gothic  No.  31 


18    Bold  Face  No.  9 

18a  Bold  Face  No.  9 


6    Gothic  No. 

6a  Gothic  No. 

6b  Gothic  No. 

6c  Gothic  No. 
12  Gothic  No. 
12a  Gothic  No. 
12b  Gothic  No. 
12c  Gothic  No. 


32  with 
32  with 
32  with 
32  with 
32  with 
32  with 
32  with 
32  with 


Goth 

Goth 
Goth 
Goth 
Goth 
Goth 
Goth 
Goth 


6    Gothic  No.  25  with  Goth 

6a  Gothic  No.  25  with  Goth 
6b  Gothic  No.  25  with  8  Po 
6c  Gothic  No.  25  with  Goth 
8  Gothic  No.  25  with  Goth 
10  Gothic  No.  25  with  Goth 
12     Gothic  No,  25  with  Goth 


c  No.  33 

c  No.  33 
c  No.  33 
c  No.  33 
c  No.  33 
c  No.  33 
c  No.  33 
c  No.  33 

c  No.  26 

c  Condensed  No 
nt  Gothic  Cond. 
c  No.  26    ,     . 

No,  26 
c  No.  26 
c  No.  26 


90  Channel  Layout 

Keyboard  Diagram 

No.  98 


L.C.      Cent.       Cap 


Auxiliary 
Magazine 


28 
Chan. 


34     Wide34 
Chan.    Chan. 


4       — 


•1        -2 


•1        '2 


1        -2 


•  Will  run 
—  Will  not  run 

1  Cap  R  will  not  run 

2  Cap  B  and  D  will  not 


3  Wide  Auxiliary  with  narrow  channels  required 

4  Cap  N  and  R  will  not  run 

5  Cap  I  and  J  will  not  run 


550 


Lining  Memphis  Light  with  Memphis  Bold 

CAPS.   FIGURES   ArjD    POIIirS   OriLr 

I,  r.Mtit-l!   ((.A.lU'il  <  'iile  ui.ril,  ZI''.MEI'  iMKurt-.  .(>4>>4 

HOW  tS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  1234 
(,  rniiit-A  (r,A^S4)  Cult-  «Mtil.  ZI'.MP:.!  Figures.  .055.3 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TEHMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  1234 
r>  Point    (r,A.382)  Cr.de  word.  ZF.MFC  FiKiirfs,  .0622 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  1234 

12  Pniiit-r  (13A-)2S)  rode  word.  Zls.MIli  liw:ures.  .0622 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  1234 

12  I'oiiit-R  (12A-42r,)  Code  word.  ZEMIIU  FiKines.  .0C92 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  IT  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  IT  1234 

12  r'ohit-A    (12A424)  Code  word.  ZKM  FT  FiKures.  MM 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  T  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  T  1234 

12  I'..iiit  (i:'A-l,MI  ("ode  womI.  ZF.N'AT  l-'iKures.  .0968 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  F  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  F  1234 

ALIGUMIIIT  ijr   FACE   IS  AT  BASE  OE  rilAPACIEES 

THREE  SIZES  OF  SIX  POINT.  HOW  IS  ONE  TO  ASSESS  FOUR  SIZES  OF  TWELVE  POiN  1 
THREE  SIZES  OF  six  point,  how  is  one  to  ASSESS        FOUR   SIZES   OF  TWELVE   POINT 

Lining  Metromedium  with  Metrothin 

CAPS,   FIGURES   AND    POINTS   ONLY 
6  I'oint-B  (6A3M1)  fode    word.  ZFI.I'E  1  mures,  .(i-l,s^ 

HOW  IS  ONi  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS   IN   THE  ART  OF   PRl    1234 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRl  12  34 
6  Point-A  (f.A.'7X)  Code  word.  ZFl.dR  I'iKures.  .0.^.^.1 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  T  1  234 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  T  1234 
(.  Foint    (r,A,17(;i    Code    word.  ZFFOK  Figures.   .0622 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY   1234 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  1234 
12   I'oiiil-C   (12A422)   lode  word.  ZFFL'F  Figures.  .0622 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  1234 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  1234 
12  I'oiut-Il   (12A-I20)   C'.Kle  word.  Zl.l   Fl-  l-igures.  .0692 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  1234 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC   1234 

12  Fonit-A    (12A41S)   Codeword,  XFL'I'IT  Imure-..  .0,':! 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  1234 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  1234 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TER  1234 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TER  1  234 

AL!r,tlMlNT   OF    FACE    IS  AT    BAKF    DF    fHARArTPP^ 

THREE  SIZES  OF  SIX  point,  how  is  ONE  TO  ASSESS  AND        FOUR    SIZES    OF  TWELVE    POINT.    HOW 

THREE  SIZES  OF  SIX  POINT    how  is  ONE  TO  ASSESS  AND         pQUR    SIZES    OF    TWELVE    POINT.    HOW 

LIST   OF   CHARACTERS   AVAILABLE    IN   TWO-LETTER    FONTS 

LINING  MEMPHIS  LIGHT  with  MEMPHIS  BOLD  LINING  METROMEDIUM  WITH  METROTHIN 

ABCDEFGHIJKLMNOPQRSTUVWXYZ  ABCDEFGHIJKLMNOPQRSTUVWXYZ 

ABCDEFGHIJKLMNOPQHSTUVWXYZ  ABCDEFGHIJKLMNOPQRSTUVWXYZ 

12345      ,  .  •  •  •^  i  "-(  )<S  $>ECE 67890  12345       ,.:;?!"-()&  S /E  CI _    __      67890 

12345     ,.:  ;?  !"-()4$^CE 67890  1234,5       ,.;;?!•'-()&$ /E  CE  _.._,       67890 


551 


Herbert  D.   Norman,   president 


Ezra  W.  Diman,  vice-president 


Theophilus   G.   Norton,  cashier 


Peter    I.   Stoneseifer,   Jr.,   assistant   cash 


THE    SILKMAN'S    COOPERATIVE     NATIONAL    BANK 

101   Main  Street   •    Manchester,  Conn. 


Manchester  640 


CASHIER'S  OFFICE 


"The  Ideal  Place  to  Stay  for  a  Rest  in  the  Berkshires' 


Telephone,  Green  200 


'Stanshort  Permanency' 


Stanford  &  Shortle 

inCORPOPATED 

HARDWARE 


James  Stanford 

PRESIDENT 


55  Liberty  Avenue 
Alganton,  N.  y. 


The  Black  Forest  Inn 

ROOMS  BY  THE  DAY,  WEEK,  OR  SEASON 


Jack  Edwards 

PROP. 


Crowfoot  Notch 
New  Hampshire 


THE  PENROSE   COUNTY   PUBLISHING   CO. 

Penrose,  Virginia 

Publishers  of  The  Penrose  Gazette        General  Printing 


Top:  Letterhead,  in  12  point,  12  point 
and  B  Lining  Metromedium.  6  point, 
point  A  and  B  Lining  Metromedium  a 
6  point  A  and  B  Lining  Metrothin. 
Upper  Left:  Card,  in  12  point,  12  point 
and  B  Lining  Metromedium;  12  point 
B,  and  C  Lining  Metrothin.  6  point, 
point  A  and  B  Lining  Metrothin. 
Above:  Card,  in  12  point  and  12  point 
Lining  Memphis  Bold,  12  point  B  and 
Lining  Memphis  Light.  6  point  and 
point  A  Lining  Memphis  Bold.  6  point 
Lining  Memphis  Light. 
Bcloiv:  Note  head,  in  12  point,  12  point 
B.  and  C  Lining  Metromedium;  6  point 
and  B  Lining  Metromedinm  and  Met 
thin. 


Above:  Note  head,  in  12  point,  12 
point  A,  B,  and  C  Lining  Mem- 
phis Bold.  6  point  and  6  point  A 
Lining  Memphis  Light. 
Below:  Card,  in  12  point  B  and  C 
Lining  Memphis  Bold ;  6  point 
and  (i  point  A  Lining  Memphis 
Bold  and  G  point  B  Lining  Mem- 
phis Light.  Decoration:  6  point 
Plain  Rule  Matrix  Slide  405a  and 
4n5b.  2  point  Plain  Rule  Matrix 
Slide  Ai)T>. 


TELEPHONE:  Cody  3634 


Stone,  Cook,  McCready,  Thomas  &  O'Shay 


ATTORNEYS- AT-LAW 


Chamber  of  Commerce  Building 
Denver,  Colorado 


llll 


Fountain  Plumbing  Service 


John  N.  Thoms 

PRESIDENT 


THE  PARENT-TEACHERS  ASSOCIATION 

OF   THE   DEERFIELD    HIGH    SCHOOL 

Invite  You  to  Attend  the 
Annual  Senior  Play 

THE  Show-off 

To  Be  Presented  in  the  Auditorium 

Friday,  April  26th 

AT  8:15  p.  M. 


DANCING 
P.   S.   V.   P. 


Ahn-i'i'  Invitation,  in  IJ  pnint.  ]J  point  A.  B.  niul  ('  I.iniiii;  Mfni 
phis  Buld.  r,  i)..int  A  and  I!  i.iniilK  Menipliis  11. .1.1,  n.-u.rati.in 
ni.rik-r  Matrix  1  .K  i>,,in1  C.-IK.  anil  Plain  Rule  Matrix  Sli.lfs  .i  i...int 
4()4\\'  anil  ,i  i)..int  4ll(.. 

lyiilhl  rr..Kiani.  in  1  _'  p.. ml.  I J  pi.inl  A.  1'..  an.l  (  l.inniK  Mi-lr.i- 
medinni.  fi  p,.int.  l.  p..int  A  anil  B  Lining  Metr.inie.liuni.  and  IX 
pi.inl  Mi.-tr..nii-ilunn  No.  J.  Dfi.. ration  I.«  point  I'.onlcr  .Matriies 
G---.IIH  .-Mid  (;-=;iil..  S  point   Matrix   Sliile  '.='1. 

BrI.'U'  .Snn.ain.iini-nt.  in  IJ  poiiil  .\  .and  li  l.inini;  .Melroniedinin, 
LiniiiK   .Melrotlim    IJ  p,.iiu   .\  ami   I!,  i.   p.unt   and  i.  point   .^. 


John  h.  Strong,  m.  d. 

announces  the  opening  of  his 
for  the  practice  of 
General  Medicine  and  Surg 

136  Sixth  Street,  Ithaca,  N. 


Office  Hours- 

1  -2  AND  7-6  P   M. 


With  Great  Joy 

We  Announce 

The  Arrival 

OF 

Elizabeth  Jane  Harmon 


TEN    POUNDS 


Betty  and  Dick  Harmon 


JUNE   2  1ST 


Aho-rc  .'\nniiinueiiient.  in  IJ  iioiiit  and  12  point  B  1-iniiiK 
.Mciiiplii-.  l.iKlit.  IJ  point  .\  and  H  Lining  Minipliix  B.dd.  and 
(.  Ii.iinl    A    and    H    lilllln;    .M  ciiil.lil  s   LlK'llt. 


T  H 

E       T 

H   E   S   P  1  A  N 
PRESE  NTS 

society 

EVERY  LITTLE 

THING 

A 

Comedy  in  three 

BV  J.  Symes 

ACTS 

POTIPHAR    N. 

Tewkesbury   . 

.    Harry  Gregor 

Silas 

Tewkesbury,  his  brother  . 

Stewart  Hodkins 

Lorraine,  potiphar-s  wife  . 

.     Mary  Wardly 

Vera 

Montague,  ward  of  the  tewkesburys 

Lilian  Eversham 

Jack 

Bishop, 

vera's  suitor  . 

Kenneth  Mcevoy 

Billy 

North 

,   VERA'S   suitor 

.    John  Baldwin 

Maid 

FiDO 

.  Sybil  Jennings 
.  Himself 

ACT  1. 

Library  of  Tewkesbury  House,  Great  Neck 

ACT   II. 

Veras  Studio  in  Greenwich 

Village 

ACT  III. 

Cellar  of  Tewkesbury  Hous 
Time:  the  Present 

Friday.  November   1  Oti 

1 

H^^^^^^ 


CEDAR  BEACH  INN 
Thursday     «   »     June  22nd 

Dinner 

Cream  of  Barley,  Normande 
Cold  Chicken  Consomme 

Filet  of  Halibut,  Dieppoise 

Croquette  of  Duckling,  Bayonne 

Grilled  Sweet  Potatoes 
Buttered  Lima  Beans 

Lettuce  and  Tomato  Salad 

Boston  Cream  Puff 
Fruit  Ice 

Demi  Tasse 


THE 

FOUNTAIN  GRILL 

i^I^^ZZ^Z   26  Station  Square,  Ilion 
Sandwiches 

Sandwich  Shop  Special 30 

BEEF,  HAM,  Pickle,  Mayonnaise 

Sandwich  Shop  Combination 30 

PIMENTO  Cheese,  peanut  Butter 

Mighty-good 30 

BRICK    CHEESE,    JELLY 

ECKS  Wy  ZEE 30 

peanut  Butter,  jelly 

Debutante 30 

Minced  ham,  Creamed  Eggs 
LITEMEEL 30 

MilUCED    HAM,    LETTUCE,    TOMATO,     1000-ISLAND    DRESSING 

PLAIN  Sandwiches,  or  on  Toast 15 

BEEF,    HAM,    BRICK    SWISS,    PEANUT    BUTTER,    PIMENTO 

PIE 15 

With  Whipped  Cream,  Extra 05 

BEVERAGES 

Coffee    ....      10      iced  tea       ...      10 
Sweet  Milk,  pint  10      Cocoa    .  10 

Buttermilk,  pint  10      Half  and  Half  .  15 


boulevard  6-5583 


71  Austin  Street 


MARTIN  &  ELLISON 


DEALERS      IN 


Fine  Meats  and  Groceries 


Far  Hills,  N.  Y. 


.193 


M 


Upper  left:  Club  Menu,  in  Lining  Memphis  Light  12  point,  12  point  A,  B,  and 
C.  fi  point  and  6  point  A  Lining  Memphis  Bold.  Heading:  14  point  Memphis 
Light.  Decoration:  Plain  Rule  Matrix  Slide  2  point  404  and  Matrix  Slide  6 
point  613. 

Above:  Bill  Form,  in  12  point,  12  point  A.  B,  and  C  Lining  Memphis  Bold.  6 
point.  6  point  A  and  B  Lining  Memphis  Light.  Linotype  Rule  form. 

Left:  Menu,  in  12  point,  12  point  A,  B,  and  C  Lining  Metromedium.  6  point  A 
and  B  Lining  Metrothin.  24  point  Metrolite  No.  2.  3  point  Matrix  Slide  No.  406.: 

BcU'w:  Appointment  Card,  in  12  point,  12  point  A,  B,  and  C  Lining  Metro- 
medium.  IJ  pi)int  A  Lining  Metrothin.  6  point  and  6  point  B  Lining  Metro- 
medium.  6  pi»int  and  6  point  B  Lining  Metrothin. 


M_ 


HAS  AN  Appointment  With 

George  w.  burns,  d.d.s. 

63  Lakeview  Drive 


FoR- 


_At^ 


A.M. 
P.M. 


TELEPHONE:  Harrison  3654 


Lining  Card  Udthic  Medium  with  Bole 


6  I'.'inl    l.iniir^   (   ar.i  Cnnhi,    ^!e'liuIn   uilli   Ti.iM    If,/, 41  41  '   ,n.-,.   liL'iirrs  ;,ii.l   p.. nits  ,,iily     Finnic   1  .   .(i41  '  :  _'  t .  ,  1 1,     11.;).' 

HOW  IS  ONE  TD  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESI  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESI  1234 

12  PiiMil   LiniiiL'  C.ird  iMitliu-  Medium  with   HnlH   n2A'4'>3>  Ciijjs,  tiijiires  ami  pnint^  onlv.    Fii-iirc  I.     liri?'  ->  to  ri      1  !81 

HDWIS  DNETD  ASSESS  AND  EVALUATE  ATY 1234 
HDWIS  ONE  TD  ASSESS  AND  EVALUATE  ATYl  234 

LIST   OF   CHARACTERS    AVAILABLE    IN    TWO-LETTER    FONTS 

ABCDEFGHIJKLMNDPDRSTUVWXYZ 

ABCDEFGHIJKLMNDPORSTUVWXYZ 

12345      ,,:;?  1  *'""-()&$  /E  CE-._     67890 

12345     ,.:;?!^'""-()&$>EOE-  _     6789D 


-{°  LINOTYPE '"> 


BE  SURE  THERE   IS  AN    EAGLE   ON    EVERY    LINK 


TELEPHONE:   BRIDGEPORT  6-6394 


EAGLE  CHAIN  CDMPANY,  INC, 

2134  FRANKLIN   PARKWAY.  NORTH 
BRIDGEPORT,  CONN. 


MICHAEL  DOLAN.  PRE5. 


m\    EAGLE  CHAIN   COMPANY.  INC. 

2134    FRANKLIN    PARKWAY.  NORTH 
BRIDGEPORT.  CONN. 


Jhoi'^:  I.etterlu'.Ml.   in  6  ami    12  point  Lining  <"ard  Coiliic   Me 

diuni    witli    IJ.rld.     Dfc.rat 

h!em  Character  \n.  1  and 

Center:  Envelope  Curiier. 

dium   with    Bold.    Decorat 

l)leni  Character  No.  1. 

Right:  Husiness  Card,  in  (■>  Point    l-iiiiuK  Card  Cothii    Mf<lii 

with    Bold.     Decoration:     12    point    I'niversal     Party    Kinlili 

Cliaracter  No.  1. 


2  point  T.iniiiK  Card  C.otliic 
2A  pi»int  L'ni versa!  Party 
0  point  .Matrix  Slide  No.  1-442. 
n  6  point  Cining  Card  Cothic 
n :    12   point    Universal    Party 


EAGLE  CHAIN   COMPANY.  INC. 

2134    FRANKLIN    PARKWAY,  NORTH 

BRIDGEPORT.  CONN. 


BR. 6-6394 


MICHAEL  DOLAN,  PRES. 


555 


GoT^Jic  No.  29  WITH  Gothic  No.  30 


CAPS,  FIGURES  AND   POINTS  ONLY 
6  Point-C  (6A2n6)  Code  word,  KYOT  Figure  1,  .0346;  2  to  0,  .0415 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTIN  1234 
HOW    IS   ONE  TO   ASSESS   AND   EVALUATE   A   TYPE   FACE    IN    TERMS   OF    ITS    ESTHETIC    DESIGN?    WHY    DO    THE    PACEMAKERS    IN   THE   ART   OF   PRINTIN    1234 

5  Point-B  (CA208)  Code  word.  KYOC  Figure  1.  .0,346;  J  to  0.  .0553 
HOVH  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  US  ESTHETIC  DESIGN'  VI/HY  DO  THE  PACE-MAKERS  IN  T  1234 
HOW  IS  ONE   TO  ASSESS  AND   EVALUATE   A  TYPE   FACE   IN   TERMS  OF   ITS  ESTHETIC  DESIGN!  WHY  DO  THE   PACEMAKERS  IN   T  1234 

6  Point-A  (6A210)  Code  word.  KYIB  Figure  I.  .0346;  2  to  0,  .0553 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PAG  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PAG  1234 

6  Point  (6A204)  Code  word.  KYFY  Figure  1.  .0415:  2  to  0.  .0692 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN'  WH  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WH  1234 

12  Point-C  (12A210)  Code  word.  KYTO  Figure  1,  .0415;  2  to  0,  .083 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  EST  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  EST  1234 

12  Pnint-B  (12A212)  Code  word.  KYSI  Figure  1.  .0553:  2  to  0,  .0968 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  1234 

12  I'oint-.\   li:/\.:UI  r,„le  w,,r(l.  KYRF  Figure  1.  .11553;  2  to  0.  .1107 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  1234 

12  Point  (12A20S)    Code  word.  KYQ..\  Figure  1,  .0692:  2  to  0,  .1245 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  ATYP  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYP 1234 

18  Point  Cotliic  No.  29a  (18A145)  Code  word.  KYfV  Figure  1.  .083;  2  to  0.  .1522 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  12 

IS  Point  Gothic  No.  29  (18A139)  Code  word.  KYUD  Figure  1,  .0968;  2  to  0,  .1937 

HOW  IS  ONE  TO  ASSESS  AND  EVA  12 

18  Point  Ciithic  No.  30a  (18A147)  Code  word,  KYWY  Figure  1.  .083;  2  to  0,  .1522 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  12 

IS  Point  r„itliii   No.  30  (18A14II  Code  word.  KYVU  Figure  1.  ,0968:  J  to  0.  .1937 

HOW  IS  ONE  TO  ASSESS  AND  EVA  12 


ALIGNMENT  OF  FACE   IS  AT  BASE  OF  CHARACTEPt 


FOUR  SIZES  OF  SIX  poiNt  HOW  IS  ONE  TO  ASSESS  AND  E        FOUR  SIZES  OF  TWELVE  POINT 
FOUR  SIZES  OF  S,X  .o,.t    HOW  ,S  C.  TO  ASSESS  AND  E  pQ^  j^   g|^^^  ^^  TWELVE    POINT 


LIST   OF   CHARACTERS   AVAILABLE    IN    TWO-LETTER    FONTS 

ABCDEFGHIJKLMNOPQRSTUVWXYZ 
ABCDEFGHIJKLMNOPQRSTUVWXYZ 

12345        ..:;?! -  (  )  &  $ /E  CE ._       67890 

12345        ,.:;?!"""-(  )&$>ECE ._        67890 


556 


MARCUS  GARRISON 

ATTORNEY-AT-LAW 

GRANGE    BUILDING.   NEW   LONDON,  CONN. 


Gothic  No.  29  with 
Gothic  No.  30 


Deposit  For  The  Account  Of 


thovr:  Noteliead.  in  fi  piiiiil  ;im\  r,  imini  .\  r,..tiiu-  N'n.  m.  r,  p,,iiit  C.itliic  No.  2'i. 

light:  Deposit  .Slip,  in  1.'  p.iinl  and  \1  ii.'int  A  f;i.tliic  iN...  3il.  (,  pnint  anrl  (, 
«int  A  Gothic  No.  JO.  IJ  point.  (,  poTiil.  6  point  .\  and  (.  (Jotliic-  .No.  2').  I.ino- 
ype  Rule  Form  Mat  rues. 

1elo%v:  Appoinlrnent  Keionl.  in  \H  l)oint  A  Gothic  .No.  30.  12  point  .\  Gothic 
^o.  30.  6  point  .'\  Gothic  .No.  30.  i,  point  A  (iothic  No.  J'J.  Rules:  ^  point  W.ive 
tule  Matri.v  .Slide  .No.   1S18  and  (.  point    I'lain  Rule    Matrix  Slide  No.  403. 


APPOl NTM  ENTS 

FOR  TO-DAY 

AUGUST  11 


9:00 

1  :00 

9    15 

1:15 

9   30 

1:30 

9   45 

1  :45 

10:00 

2:00 

10    15 

2:15 

10   30 

2:30 

10   45 

2:45 

1  1    00 

3:00 

4:30 


Kidlil  AnnoLnu-cnicnt.  in  IJ  point  Gothic  No.  30,  f,  point 
Jothic  No.  30.  nccoiati..ii:  IJ  point  H,,rder  Matrices  N... 
l-.SO  R  and  I,,  f.  point  Miscellancons  .Mnlliidc  Rule  Matrix 
slide  No.  742. 


.19. 


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WE   ANNOUNCE   WITH    PROFOUND   SORROW 
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OUR   OFFICES  WILL   BE  CLOSED  ALL   DAY  THURSDAY 


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Gothic  No.  31  with  Gothic  No.  32 

CAPS,   FIGURES  AND    POINTS   ONLY 
6  Point-C  (6A262)  Code   word,  LAAL  Figure  1.  .0346;  2  to  0.  .0415 

HOW  IS  ONE  TO  ASSESS   AND    EVALUATE   A  TYPE   FACE    IN    TERMS   OF  ITS    ESTHETIC    DESIGN?   WHY    DO    THE   PACE-MAKERS  1234 

HOW   IS  ONE  TO  ASSESS   AND    EVALUATE   A  TYPE   FACE    IN    TERMS   OF   ITS    ESTHETIC    DESIGN?   WHY    DO    THE    PACE-MAKERS  1234 

6  r.iint-R  (6A2fiO)  Cde  word.  KVZE  Fitiure  1.  ,0415:  2  to  0.  .0553 

HOW    IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE   FACE   IN  TERMS  OF  ITS  ESTHETIC   DESIGN  7  WHY    DO  THE  PA  1234 
HOW    IS  ONE  TO  ASSESS   AND  EVALUATE  A  TYPE   FACE   IN  TERMS  OF   ITS   ESTHETIC  DESIGN?   WHY   DO  THE   PA  1234 

6  Point-A  (6A258)  Code   word.  KVYF  Figure  1.  .055.1:  2  to  0.  .0692 

HOW  IS  ONE  TO  ASSESS  AND   EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS   ESTHETIC    DESIGN   1234 

HOW   IS  ONE  TO  ASSESS  AND   EVALUATE  A  TYPE   FACE    IN  TERMS  OF  ITS  ESTHETIC   DESIGN    1234 

6  Point  (6A256)  Code  word.  KYXA  Figure  1.  .0692:  2  to  0,  .083 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  1234 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  1234 

12  Point-D    (12A396I  Code  word.  ZFDAI.  Figure  I.  .0692:  2  to  0,  .083 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  1234 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  1234 

12  Point-C  (12A272)  Code  word,  LAIV  Figure  1,  .0761 ;  2  to  0,  .0968 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  T  1234 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  T  1234 

12  Point-B  {12A270)  Code  word.    LAIN  Figure  1.  .083 :  2  to  0,  .1107 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  F  1234 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  F  1234 

12  Poiiit-A  (12A268)  Code  word.  I.AEM  Figure  1.  .1107:  2  to  0,  .1383 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  1234 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  1234 

12  Point  (12A266)  Code  word.  LAAS  Fiprure  1.  .1245:  2  to  0,    .166 

HOW  IS  ONE  TO  ASSESS  AND  EVALU  1 234 

HOW  IS  ONE  TO  ASSESS  AND  EVALU  1  234 

18  Point-A  lii.thic  No,  31    I18A1-4'')  Code   word.  l.AMK  FiKure  1,  .0968;  2  to  0.  .1937 

HOW  IS  ONE  TO  ASSESS  AND  E  12 

18  Point  C.tliic  No.  31   (18AI43)  Code  w..rd.  LALA  Fiuure  1.  .12-4.i;  2  to  0,  .249 

HOW  IS  ONE  TO  ASSESS  A 12 

ALIGNMENT  OF  FACE   15  AT  BASE  OF  CHARACTEPS 

FOUR  SIZES  OF  SIX  POINT    HOW  IS  ONE  TO  AS        FIVE    SIZES   TWELVE    POINT 

FOUR  SIZES  OF  SIX  POINT    HOW  IS  ONE  TO  AS        r~l\/i—    _.  iiv  i"T" 

r  IVE  SIZES  TWELVE  POIN  I 


LIST   OF   CHARACTERS   AVAILABLE    IN    TWO-LETTER    FONTS 

abcdefghijklmnopqrstuvwxyz 

abcdefghijklmnopqrstuvwxyz 

12345       ,.:;?!"""-(  )&S/ECE-__      67890 

12345       ,.:;?!"""-()&  S/ECE-__       67890 


558 


Itc 


DEVONSHIRE  SECURITY  CORPORATION 
ROCHESTER,  NEW  YORK 


STATEMENT  OF  CONDITION  AS  OF  MAY  15TH 


,  RESOURCES 

BONDS   AND   MORTGAGES 
UNITED   STATES    BONDS       - 
OTHER    BONDS  ...  - 

LOANS   AND   DISCOUNTS     • 
CASH    ON    HAND   AND    IN    BANK 
BANKING    HOUSE    .  -  -  . 

OTHER   ASSETS         .... 


SI  .  1  27,  185   27 

944.82  1    03 

4,  I  23.236.70 

2,  1  36.097  05 

822,364  22 

89,000.00 

177,949.01 

$9,420,653.28 


LIABILITIES 

CAPITAL $      500,000.00 

SURPLUS 500.000  OO 

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$9,420,653.28 


INTEREST   ALLOWED    ON    DEPOSITS  SAFE    DEPOSIT   AND    STORAGE    VAULTS 

CHECKS    ON    THIS   COMPANY    PAYABLE   AT    PAR   THROUGH    THE    FEDERAL    RESERVE 

BANK   OF    ST.    LOUIS 


("LINOTYPE-") 

Gothic   No.  31 

WITH 

GOTHIC   No.  32 


BcUnv      Ticket,    in     18 
priint  A  Gothic  N<i. 
31.    12    point    C    Gothic 
No.  ,31.   12  point  C 
Gothic    No.    32. 


'7oz'c :  Statement,  in   12  point.   12  point  A  Gothic          i 
0.  31.  6  point,  6   point  A  Gothic  No.  31.  6  point          [ 
Gothic  No.  32.   Decoration:   6  point  Ornamental          ' 
ash  Matrix  Slide  No.  917.                                                         \ 

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X? 

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MORE  THAN  SIMPLY  MAKING  A 
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Left :  Card,  in  IS  point  Gothic  No.  31.  12  point  B  Gr.thic  No.  31.  6  point.  (,  iioliit  B  .Hml  (    Gothic 
.No.  31.  6  point  Gothic  No.  .^2.  Decoration:  12  point  Border  Matrix-  No.  ^9). 
Lowcy  Left     Announcement,   in  r,   jjoint   .'\  and   B  Gothii    No.  32. 

Pclmv     Aiinonncenieiit.   in   12  point    B  Gothic   No.   31.    12  iioint   1!  and  ('  Gothic  No.  32.  6  point 
Gothic  No.  32.  Decoration:   12  point  Bonier  Matrix  No.  510. 


E  WILLIAMSBURG  TRUST  COMPANY 

TAKES   PLEASURE   IN  ANNOUNCING 

THE  APPOINTMENT  OF 

MR.  THOMAS  LANGDON  CHURCH 

AS   SECOND  VICE-PRESIDENT 
D   MEMBER  OF  THE    BOARD  OF   DIRECTORS 

WILLIAMSBURG,    KENTUCKY 


GOTJ    iC   NO.  31   WITH   GOTHIC   NO.  33 


CAPS,   FIGURES  AND    POINTS  ONLY 
6  Pnint-r  (r,A.'70)  r.ide  word.  ZIFIIU  Figure  1.  .0346;  2  t.,  0.  .0415 

HOW    IS    ONE    TO   ASSESS    AND    EVALUATE    A    TYPE    FACE    IN    TERMS    OF    ITS    ESTHETIC    DESIGN?   WHY    DO   THE    PACE-MAKERS    1234 
HOW    IS   ONE   TO   ASSESS   AND   EVALUATE   A  TYPE   FACE    IN   TERMS    OF    ITS    ESTHETIC    DESIGN?   WHY    DO   THE    PACE-MAKERS    I23« 

6  Point-B   (6A-'.S4)   Code    word,  ZIFFU  Finure  1,  .n4LS:  _'  tn  0.  .05.^3 

HOW  IS  ONE  TO  ASSESS  AND   EVALUATE  A  TYPE  FACE   IN   TERMS  OF  ITS   ESTHETIC   DESIGN?   WHY   DO  THE  PA  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE   FACE   IN   TERMS  OF  ITS   ESTHETIC   DESIGN?  WHY  DO  THE  PA  1234 

f.  I-Minf   A  (r,A252l  r,.de  word,  ZIFKZ  Fisiire  1,  .05.=;3;  2  to  0,  .0692 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  1234 


6  I'oin 


(6A-4SI    <  ode  uoriL  ZIFFT 


1-1 


0692 


'  to  0,  .083 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE   FACE  IN  TERMS  OF  ITS  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE   FACE  IN  TERMS  OF  ITS  1234 


2A4.H6)  (  oile  word,  Zll-.l  I 


FiKine  I,  .0761  ;  2  t. 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  T  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  T  1234 


IS  I'mmi1-.\  ll.itloi   No.  M    ll,SA14o|   C.de  u.ird.  I  .X  M  F 


Fmoire  1.   .006S;  2  to  0,  .1937 


HOW  IS  ONE  TO  ASSESS  AND  E  12 

18  I'(.int  r„,lliic  Xo.  31    nSAHi)  rode  word,  LALA  I'iyiire  1,  .124?;  2  to  0,  ,249 

HOW  IS  ONE  TO  ASSESS  A 12 


ALIGNMENT  OF  FACE   IS  AT  BASE  OF  CHARACTERS 
FOUR    SIZES   OF   SIX    POINT.   HOW    IS   ONE  TO   AS 

FOUR  SIZES  OF  SIX  POINT.  HOW  IS  ONE  TO  AS 


LIST   OF    CHARACTERS   AVAILABLE    IN    TWO-LETTER    FONTS 
ABCDEFGHIJKLMNOPQRSTUVWXYZ 
ABCDEFGHUKLMNOPQRSTUVWXYZ 

12345         ..::?! -O&S/ECE 67890 

1 2345         ,.:;?!'' ""-()&$>ECE 67890 


-('    LINOTYPE"  «> 


ALBERT   L.    BRIGGS 


H.  P.  TRENT 


HOWARD    S,    LINGARD 


HERBERT   MORRIS 


The  Lincolnville  Trust  Company 

MEMBER  FEDERAL  RESERVE  SYSTEM 

Lincolnville.  Missouri 


RETURN    in    5    DAYS  TO 

4E  Lincolnville  Trust  Company 

p.  O.  BOX    98 

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Above:  Letterhead,  in  6  poinl.  6  point  A  and  B  Gotliic  No.  31.  12  point  C  Gothic 
No,  33.  (,  point  Gothic  No.  33.  Decoration:  24  point  Border  Matrix  No.  852. 

J.eit:  Envelope  Corner,  in  6  point,  6  point  A  and  B  Gothic  No.  31. 

Right  :  Business  Card,  in  6  point,  ti  point  A  Liolhic  Nu.  3J.  6  point,  6  point  A.  B, 
and  C  (iothic  No.  31. 


Mr.  Howard  S.  Lingard 

Second  Vice-President 

The  Windsor  Bankers  Association 
Detroit.  Michigan 


YOU  ARE    INVITED   TO 

A  SONG    RECITAL 

By  Pupils  of  Walter  S.  Howlandon 
unity  hall 

FRIDAY  EVENING,  JUNE  9th,  at  8:15 


THE   SINGERS 


GOTHIC   NO.  31 

WITH 

GOTHIC   NO.  33 


I. lit     lii\it.iti.M].  )->  ijijiiit  (    (i.illuc  iN<i.   ,il.  1-'  puiiit  (    (Idthu-  No.  3^. 
(,  p.iiiit.  (.  iiciint  A  .-mkI  li  (;.jtliic  No.  31.  ()  jjoiiit  B  G.jtlUL-  No.  ^^. 


Hfltni':  Not<-hc.-i<l.  ()  point,  i,  point  A  t'.othic  No.  3.i.  i.  point   I!  arid  C 
liothic  No.  31. 


MISS  ALICE    BARBOUR    KENT 

MRS.  EDWARD    W.    CHARLES 

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Mr.  J.  R.  Douglas 

Eastern  Sales  Manager 


Above:  Hiisiiiess  (aril.  IJ  point  (    Cotliic  No.  33.  6  point  and  6  point  .\  C.ithic  No. 
M.  12  point  r  Colhit   No.  31.  (i  point,  (i  point  A.  B.  and  C  Golliic  No.  31. 


MES  STANFORD. 

PRESIDENT 


55  LIBERTY  AVENUE 
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^^%%%%%%%%%^!t%%%<lt%%%^^ 


FOR 


business  and 

residential 

listings 


all  kinds 
of  insurance 


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BROK  E  R 

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telephone:    OAK    361 


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produce  merchants,  valley  market,  keene,  n.  h. 


^^^%%%%%%%^%%%mHlH!H!Ht%%%%^ 


Abo-.;-:  Caul.  13  point  C  Hothi,  No.  ?■,?,.  6  point. 
'.  point  .\.  It.  and  ('  (iothic  Xo.  i^.  6  point  R 
iM.IIiii    No.   31, 

/  ,1/  I.ahcl.  13  point  C  Gothic  No.  33,  6  point 
liolliic  .No,  ?.^.  Decoration:  13  point  Wave  Rnle 
Matrix  Sliile  No,  1  .^noh  and  J  point  riaiii  Rule 
,\l:itri>c  .Slide  No,  4U5. 


561 


Bold  Face  No,  9  with  Gothic  No.  31 

CAPS.  FIGURES  AND   POINTS  ONLY 
6  Point-C  (6A214)  Code  word,  INRE  Figure  1.  .0346;  2   to  0.  .0415 

HOM'  IS    OJJE   TO  ASSESS    AND   EVALUATE  A   TYPE   FACE    ITf   TERMS   OF   ITS  ESTHETIC   DESIGX7   'WHY  DO   THE   FACE-MAKERS  1234 
HOW  IS  ONE  TO  ASSESS   AND    EVALUATE  A  TYPE   FACE    IN  TERMS  OF    ITS    ESTHETIC    DESIGN?   WHY   DO   THE   PACE-MAKERS  t234 

6  Point-R  (6A216)  Code  word.  INQ.\  Figure  1.  .041.^:   2  to  0,  .0553 

now  IS   OXE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IX  TERMS   OF  ITS  ESTHETIC   DESIGX?  'WHY   DO  THE  PA  1234 
HOW   IS  ONE  TO  ASSESS  AND  EVALUATE    A  TYPE   FACE   IN  TERMS  OF   ITS  ESTHETIC  DESIGN?   WHY   DO  THE  PA  1234 

6  Point-A  (6A218)  Code  word.  INOT  Figure  1.  .0553;  2   to  0.  .0692 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN  123  4 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN  1234 

6  Point  (6A212)  Code  word.  INOC  Figure  1.  .0692;  2   to  0.  .083 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  1234 

12  Point-D  (12A386)  Code  word,  ZAYOL  Figure  1,  .0692;  2  to  0.  .083 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  123  4 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  1234 

12  Point-C  (12A218)  Code  word.  INUV  Figure  1.  .0761;  2   to  0.  .0968 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  T  1334 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  T  1234 

IJ  Point-B  (l.'A220)  Code  word.  INUn  Figure  1.  .083;  2   to  0.  .1107 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  F  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  F  1234 

12  Point-A  (12A222)  Code  word,  INTO  Figure  1.  .1107;  2  to  0.  .1383 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A 1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  1 234 

12  Point  (I2A216)  Code  word.  INSI  Figure  1.  .1245;  2  to  0,  .166 

HOW  IS  ONE  TO  ASSESS  AND  EVALU 1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALU  1 234 

18  Point-A  Bold  Face  No.  9  <18A151)  Code  word.    INVC  Figure  1.  .1522;  2  to  0.  .19.^7 

HOW  IS  ONE  TO  ASSESS  AND  12 

18  Point  Bold  Face  No.  9  (18A157)  Code  word.  INVE  Figure  1.  .166;  2  to  0.  .2213 

HO^^  IS  ONE  TO  ASSES  12 

18  Pomt-A  Gothic  No.  31   (18A1-49)  Code  woril.  I.A.ME  Figure  1.  .0968;  2  to  0.  .1937 

HOW  IS  ONE  TO  ASSESS  AND  E  12 

18  Point  Cothic  No.  ?,1    (18AH1>  Code  wi>rd.  I.ALA  Figure  1.  .1245;  2  to  0,  .249 

HOW  IS  ONE  TO  ASSESS  A 12 

ALIGNMENT  OF  FACE   IS  AT  BASE  OF  CHARACTERS 

FOUR  SIZES  OF  SIX  POINT.  HOW  IS  ONE  TO  AS        FIVE    SIZES  TWELVE   POINT 
FOUR  SIZES  OF  si.x- POINT.  HOW  IS  ONE  TO  AS         rT'l\  iw—    ^.  -^^-..iviT" 

FIVE  SIZES  TWELVE   POIN  I 


LIST   OF   CHARACTERS   AVAILABLE    IN    TWO-LETTER    FONTS 

ABCDEFGHIJKLMNOPQRSTUVWXYZ 

ABCDEFGHIJKLMNOPQRSTUVWXYZ 
12345       ,.::?!*""'-(  )&S^CE--_       67890 
12345       ,.:;?!"  ""-()&S>ECE-._      67890 


562 


Jamek  <■.  Porter  Ei-mkr  a.  I'ortkr  Lawrknck  i»<>htkr  xkwton  a.  I'ohtkr 


Porter  Hardware  Company 


KAKMINti    MACHINERV, 
STOVKS,    CCTLEKV, 


WINI>ASII    I'(»WI-;R, 
l'r.MI'>^.    Tool,!-.. 


Dallas,  Tkxas 


Bold  Face  No.  9  with 
Gothic  No.  31 


Left:  Nntehrail.  in  12  point.  12  point  A,  C,  and  D  Bold 
Face  No.  y.  6  point  H  and  ('  Hold  Face  No.  9.  Decora- 
tion: 2  point  Matrix  Slide  .No.  402  and  24  point  Border 
Matrix  No.  Hr,2 


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.Ibin;-     Invitati.m.   in   12  point  A.  B.  ('.  and   D  Bold   Face 
N<i.  9.   6  point,  f,  point  A  Hold  Face  No.  9. 


Above:  Notice,  in  12  p.iint  B  fiothir  No.  31. 
6  point.  6  point   A  Hothic   No.   3\ . 

Riyht  Hill  Head,  m  12  point.  12  point  A.  H. 
C  and  IJ  Bold  Face  No.  9.  6  point  A,  B  and  C 
Bold  Face  No.  9.  Rules:  2  point  Plain  Rule 
Matrix  Slide  No.  402  and  3  point  Parallel 
Rule  Matrix  Slide  No.  303. 

Beluw :  .Vviverliseinent.  m  1<S  point  Gothic  No. 
31.  12  point  A  and  H  (Jotluc  No.  31.  L.  point 
Gollnc  No.  31.  Rules:  4  point  Parallel  Rule 
Matrix  Slide  No.  3.-1  anil  12  point  .Multiple 
Rule  .Matrix  Slide  .No.  649. 


Baytown.  N.  Y. 


M 


TO  Herman  J.  Burns,  m.d. 

HOMEOPATHIST 


OFFICE  HOIKS 


]  7  T»)    y  p.  -M. 

\    sr.NU.WS   y   TO   II   A.M. 


No.  918C  MuNFOD  Avenue 

TkI.F.IMIO.VK    (jRAXr    273 


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MOST     MODERN      AND      HOME-LIKE     CLUB      IN     THE     MIDDLE     WEST 

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LAKEVIEW-ON-THE-LAKE,  NEAR  RACINE 


GoTh.c  No.  32  WITH  Gothic  No.  33 

CAPS,   FIGURES  AND    POINTS  ONLY 
6  ['oinf-C  (.6A2A2)  Code  word.  I.ARY  Figure  1.    .O.Mfi :  2  to  n.  .0415 

HOW    IS  ONE  TO  ASSESS  AND    EVALUATE    A  TYPE   FACE    IN   TERMS  OF    ITS    ESTHETIC    DESIGN?   WHY    DO   THE    PACE-MAKERS  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVAI.UATE  A  TYPE   FACE  IN   TERMS  OF   ITS  ESTHETIC   DESIGN?  WHY  DO  THE    PACE-MAKERS  1234 

f,  I'oint-B  (6A24n)  Code  word.  I.AQU  FiRure  1.  .nA\S;  2  to  0.    .0553 

HOW   IS   ONE  TO  ASSESS  AND    EVALUATE   A  TYPE   FACE    IN   TERMS   OF   ITS   ESTHETIC   DESIGN?   WHY    DO  THE   PA   1234 
HOW  IS  ONE  TO  ASSESS  AND   EVALUATE  A  TYPE  FACE   IN  TERMS   OF  ITS   ESTHETIC   DESIGN?   WHY  DO  THE  PA  1234 

6  roint-,\   (C/iJ,!.si   r,.de  word.  l..\Or  Ficiire  1.    .nSSJ;  2  to  0.  .0692 

HOW  IS  ONE  TOASSESS  AND   EVALUATE  ATYPE   FACE    IN  TERMS  OF  ITS   ESTHETIC   DESIGN   1234 
HOW  IS  ONE  TO  ASSESS  AND   EVALUATE  A  TYPE  FACE   IN  TERMS  OF  ITS  ESTHETIC  DESIGN  1234 

6  Point  (fiA236)  Code  word.  LAM  Fieiire  1.  .Or,Q2:  2  to  0.    .08,? 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE   IN  TERMS  OF  ITS  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE   IN  TERMS  OF  ITS  1234 

12  Point-C  (12A256)  Code  word.  LA\"I  Figure  1 .    .0761 ;  2  to  0.  .0968 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  T  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  T  1234 

12  Point-B  (12A2.^4I  Code  word.  LAUX  Figure  1.  .083;  2  to  0.    .1107 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  F  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  ATYPE  F  1234 

12  Poinl-A  n2A252)  Code  u.ird.  I,A1  K  Figure   1.  .1107;  2  to  0,  .1383 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  1234 

IJ  roiiit    il2A-='OI   (  (,.le  w.ird.  I  .\SA  !■  i:,;iire  1  .  .  1 245 ;  2  to  0.    .161, 

HOW  IS  ONE  TO  ASSESS  AND  EVALU  1  234 
HOW  IS  ONE  TO  ASSESS  AND  EVALU  1 234 

ALIGNMENT  OF  FACE   IS  AT  BASE  OF  CHARACTERS 

FOUR  SIZES  OF  SIX  POINT.  HOW  IS  ONE  TO  AS        F  O  U  R  SIZES  OF  TWEL  V  E 
FOUR  SIZES  OF  SIX  POINT.  HOW  IS  ONE  TO  AS 


FOUR  SIZES  OF  TWELVE 


LIST   OF   CHARACTERS    AVAILABLE    IN    TWO-LETTER    FONTS 

ABCDEFGHIJKLMNOPQRSTUVWXYZ 

ABCDEFGHIJKLMNOPQRSTUVWXYZ 

12345        ,.::?!''""-()&  S/ECE-._        67890 

12345        ..:;?!"""-(  )&S/E<E- 67890 


564 


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Certificates  may  be  made  payable  to 
either   one   of  two   persons 

For  instance.  John  Smith  can  have 
A  Certificate  made  payable  to  John 
Smith  or  Mary  Smith  (his  wife  or 
daughter ) 

In  this  case  the  Certificate  could 
be  cashed  by  either  of  the  parties, 
whichever  one  had  possession  of  it 
so  long  as  they  both  lived  and  the 
Certificate   remained   in   force. 

But  in  the  event  of  the  death  of 
either   one,   the   Certificate   would    not 

BECOME    a    part    OF    THE    ESTATE    OF    THE    ONE 

who  died,  and  thus  be  tied  up  pending 
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belong  entirely  to  the  survivor 

This  plan  enables  a  man  to  provide 
his  wife  with  an  investment  that  will 
be  immediately  available  to  her  in  case 

OF  HIS  DE 
SION  OF  T 
CONTROLS 
LIVES. 

If  you 

OUT  IN  TH 
SO     IF     YOU 


Goth  ic  No.  32 

WITH 

Goth  i  c  No.  33 


l.cit:  Statcnu-nt.  in  I J  point.  12 
Ijoint  A  and  1!  Gothic  No.  33. 
6  point  Gothic  No.  33.  12  point, 
12  point  A.  H  and  C  Gothic  No. 
32.  f>  point.  Ci  point  A  and  B 
Gothic  No.  32.  Rules:  3  point 
I'arallel  Knle  .Matrix  Sli<ie  No. 
3ii3  and  Linotype  Leatler  Align- 
iiiK  Dashes. 


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HAS   AN    APPOINTMENT 

WITH 

George  W.Thomasson.  d  ds 


BENTLEY     BUILDING.    MARVILLE.    N.   Y. 


A.M. 
P.M. 


.tbvvc :  Appoinlnieiit  Notice,  in  12  point  ('  Gothic  No.  32.  <,  point.  6  point  A  and  B  G 
Rules:  2  point  I'lain  Rule  Matrix  Slide  -4n,^  and  Linotype  l.e.'ider  Alik'niuK  Dashes. 


Lcit :  Annomu  en 


12  point  .\  and  I!  Gothic  .\o 


thic  No.  32. 
I,  point.  <,  point  .\  and  B  Gothic  No,  32. 


CENT 

OF 


TO  GLASGOW  TELEPHONE  COMPANY,   d 


R. 


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PAID     BY 

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DATE  


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MONTH     ENDING,     MARCH     31 


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MONTH     ENDING,    JANUARY    31 


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JANUARY     21     TO     FEBRUARY     20.     INCLUSIVE 


BILL    RENDERED 


Abnvc  Riiihl  Statenu-nt.  in  12  iKiilit  Gothic 
No.  35.  6  iioint  A  and  li  Gothic  Nn.  33.  12 
point  1!  and  C  Gothic  No.  32.  r,  point  ("  Gothic 
No.  32.  I.inotyiie  Rules.  Leaders  and  brass 
rule. 

R'uiht  Rccor<l  l-'onn.  in  12  point  ('  Gothic  No. 
33.  I,  point,  r,  iioint  I!  and  C  Gothic  No.  33.  f. 
point  H  and  C  Ciolhic  No.  32.  Linotype  Rules 
and  Rule  Form  .Matrices. 


'A-61  IT 

It  38                  GLASGOW   TELEPHONE   CO. 

TOLL  SERVICE  AND  OTHER  CHARGES 

1                                                                                          EXPLANATION     OF    CODE                                                                                         ' 
1         A-APPOINTMENT     Rate                                                                                                                      P-PERSON     TO     PERSON     RATE 

1     e-evening  rate.   8:30  p.m.   to  midnight                         r-report  charge                         ' 

M-Messenger   Call  rate                                                               t-Telegram                                         , 

.      N-Night    Rate.    Midnight   to   4:30   A.m.                                                                                                         | 

J                      No  Code-Station  to  station   day  rate.  4:30  A.m.  to  8:30  p.m.                      i 

i     DATE 

NO.  OF                                    PLACE    CALLED 

AMOUNT 

TAX         CODE ; 

565 


aOTHIC   NO.  25  WITH  GOTHIC  CONDENSED   NO.  2 


CAPS,  FIGURES  AND   POINTS  ONLY 
6  Point-A  Gothic  Nn.  25  with  6  Point  r.othic  rondensed  No.  2  (r,A16-l)  Code  word.  KYBI  Figures.  .0415 

HOW     IS    ONE    TO    ASSESS    AND     EVALUATE    A    TYPE     FACE     IN    TERMS    OF     ITS    ESTHETIC    DESIGN?    WHY    DO    THE    PACE-MAKERS     IN    TH     1234 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  TH  1234 

Made  only  in  combination  zi'itli  6  Point  Gothic  Condensed  No.  2 

r,  P.iint-B  Gothic  No.  25  «ith  .?  Point  Gothic  Condeii'sed  No.  2  (fiAlT>6)  Gode  word,  KYGO  Figures.  .0484 

HOW    IS  ONE  TO  ASSESS  AND    EVALUATE  A  TYPE   FACE    IN  TERMS  OF    ITS    ESTHETIC   DESIGN?  WHY  DO  THE   PACE-MAKERS    I    1234 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  1 1234 

Made  only  in  combination  with  8  Point  Gothic  Condensed  No.  2 


LIST   OF   CHARACTERS   AVAILABLE    IN   TWO-LETTER    FONTS 

ABCDEFGHIJKLMNOPQRSTUVWXYZ 

ABCDEFGHIJKLMNOPQRSTUVWXYZ 

12345  ,.:;?! -I     )i$/E<E 67890 

12345       ,.:;?!"""-()&$/EE-- 67890 

GOTHIC  NO.  25  WITH  GOTHIC  NO,  26  ~~ 

CAPS,   FIGURES  AND    POINTS   ONLY 

6  Point-C  (6A168)  Code  word,  KYDU  Figures.  .0622 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIG  1234 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIG  1234 

6  Point  (6A17"i  Gode  word.  KYAX  Figures.  .0692 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DE  1  234 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DE  1234 

8  Point  (SA266)  Code  word.  KYF.R  Figures.  .0899 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TE  1234 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TE  1234 

K)  Point  (10A228)  Gode  word.  ZEID  Figures.  .1107 

HOW  IS  ONETO  ASSESS  AND  EVALUATE  A  TYPE  1234 

HOW  IS  ONETO  ASSESS  AND  EVALUATE  A  TYPE  1234 

12  Point  (12A168I  Gode  word.  KYFZ  Figures.  .1107 

HOW  IS  ONE  TO  ASSESS  AND  EVALUA1234 

HOW  IS  ONE  TO  ASSESS  AND  EVALUA1234 


LIST   OF    CHARACTERS   AVAILABLE    IN    TWO-LETTER    FONTS 

ABCDEFGHIJKLMNOPQRSTUVWXYZ 

ABCDEFGHIJKLMNOPQRSTUVWXYZ 

12345      ,.:;?!"""-()&,$>EaE-._     67890 

12345     ,,  :  ;  ?  I  "  "" -(  )&,$/ECE-._     67890 


566 


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GOTHIC  NO.  25 

WITH 

GOTHIC  NO.  26 


Above:  Note   Hi-ad.  in  R  point  Hnthii    Nn.   3S; 
in  pdiiil  fiotliif  iNn.  25. 


Right     Invitation,  in   12.  10,  8,  and  6  point  (' 
Gotliic  No.  26. 


NEW     YORK. 


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point  Gothic  .Nil.  26,  8  jioint  Gothic  No.  2fi.  6  point 
C  Gothic  No.  26.  Kules:  2  point  Plain  Kule  Matrix 
Slide  No.  -inil  and  .1  point  Parallel  Rnic  Matrix 
Slide  N...  .!().!. 

Below:  lhlsine^s  laril.  iii  10  i.onit  (i..thic  No.  25. 
6  point,  A,  B  and  C  Gothic  No.  25. 


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Gothic  .\o.  26.  Knles:  J  point  Plain  Rule  Matriv  Slide  .No.  400  and  3  point 
Par.illel  Rule  Matri.x  Slide  N.,.  .!0,1. 

Helow  riu-ck.  in  12  point  Gotliic  No.  25.  6  point  ('  Gothic  N...  25.  ,H  p,,int 
Gothic  No.  26.  6  point  f  Gothic  No.  26.  Rules:  2  point  Plain  Rule  Matrix 
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an  OBrftitJition  of  panuing0  ftp  Jfrcnci)  ^xtists  Vuill  bt  ftclD 
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Oup  eniire  ovganizahon  joins 
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aiion  you  so  kindly  extended 
lo  us  in  ihe  past  year  and  lake 
ihis  opporiuniiy  lo  wish  you  a 
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'Prosperous  ffew  Year. 


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Sixty  West  Street      •      'Portland,  Uaine 


^r.  m\h  ^rs.  ^rauh  ^mttl| 

request  i\\t  I|oitor  of  oour  presence  at  tl]e 
marriage  of  tlicir  baugliter 

^tlary  ^ontse 

to 

^r.  ^rancis  ^oi-tatt 

on  tl|e  afternooxt  of  (IIl|urst>au,  tl|e  tluextty-first 

at  four  o'clock 

at  tl]e  ^econJi  iMctl]obist  (Klinrclj 

^artforb,  Ulointecticut 


Top:  Admission  Card,  in  12  and  10  point  Caslon  Text. 

AboTc :   Invitation,  set  i!i  IS  and  12  point  Lino  Text. 

Lcil :  Christmas  Card,  in  14  and  10  point  Card  Italic.  Decoration:  18 
point  Border  Matrix  No.  734  and  6  point  Geometric  Design  Matrix 
Slide  No.  13.Slb. 

Below:  Calling  Card,  set  iii  18  pt)int  Lino  Script. 


JH'ma  ^ext 


EIGHT    POI  NT 
JtfnUi  is  inio  tti  assess  anft  cHiilu.-itf  a  hj|jp  fare  in  terms  of  its  rstln'tir  ftcaiijii?  3i'"lU  i"'  Hic  parc-maliers  in  ilic  art 
of  printing  ralie  oiicr  a  sptrific  face  nf  tupc?  ^Iliat  ^l1  tlieu  sec  in  it?  JHlju  is  it  so  6uperlatincl()  pleasant  to  tljeir 
rues?  (.Isooli  besign  is  alttiaus  prartical  ^esign.  ^tih  Uil[at  tljeii  see  in  a  gooh  tnpc  iSesign  is,  partly,  its  exrcllent 
prartical  fitness  to  perform  its  liiorl).  ,3lt  li;i6  a  "l]eft"  an^  lialanre  in  all  of  its  parts  just  rigljt  for  its  sise,  as  ano 

f/im,  fjiiil  leaded) 

alietiefgliijhlnmopqrstuViluxos  o'c  5!^  5^  sj  «]  ^, .:;'-'?!  123'l5er8aU 

Mutrix  hijorwiiliun  .  SAISI.  Lower  case  alijli.'iliet.  'J4  p. nuts,  liKiires.  .(C^S.i;  i.niiiii.i.  peiiml  ami  lliiii  spaie,  .ll.Mf..  Huns  in  vo 
chamicl  magazine,  t'ude  word.  MABI. 

TEN    POI NT 

Jtofe  is  one  to  assess  unit  e&aluatc  a  ivpe  fare  in  temns  of  its  cstl|rtic  besign?  ^I]y  bo  tlic  pare- 

mafeers  in  tlje  art  of  printing  ra&e  odrr  a  sperifie  face  of  tope?  ^Ijat  bo  tl;cu  sec  in  it?  3i11lU  is  it 

so  sxiperlatitielo  pleasant  to  tljcir  eoes?  Oioob  besign  is  altaaus  practical  brsign.  j\nb  tuliat  tljcu 

(  dr.'  puiiit  leaded  I 

alu-befghijblmnopqrstutihixus  or  'i?  1?  5*  t'l  %,.■•"- ?l  12345li78!;Ul 

.1/a(l-i.r  Injoniialhiii  KlAl-^-  I..|Uer  case  alplial>et.  11.1  pnints.  I'iKnres,  A)(,'I2;  i-i.mina.  peri.ul  an. I  lliin  spaie.  MM.  Unns  in  ')n 
iliannel  niaKa/ine.  Cixle  u'..ril.  MAtiY. 

TWELVE    POINT 

Jfiolu  is  nnc  tn  assess  aub  cltahiatc  a  tupc  face  in  tcnits  of  its  cstljctic  bcsigit?  P^ljy 
ho  tijc  parc-makcrs  in  tl]c  art  of  priittiixg  rafie  o&cr  a  specific  face  of  tupe?  33i^i|at  bo 
tt[eu  see  m  it?  PJI]!J  is  it  so  supertatiOely  pleasant  to  tljcir  cgcs?  (Soob  besign  is  al- 

(t'cvii  point  leaded) 

abcbefgliijklmitopqrstu&ioxgH  at  >l^  ^  #  t'l  ^,.:;'-'?!  1234567890 

Matrix  Infonitatioit :  IJAlcy.  I,ower  case  alplialiet.  1.10  ixiiiUs.  Figures.  .083;  c.umna.  peri.id  and  thin  space.  -')41s.  Runs  iti  ')f) 
channel  inaga/ine.  Cide  wurd.  ,MAEN. 

FOURTEEN    POINT 

^nfu  is  oitc  to  assess  aitb  cdahtatc  a  type  face  iit  tenits  of  its  estl|ctic  bcsiqit? 
PEl|u  bo  tl]c  pace-makers  in  the  art  of  prixttittu^  ra6e  oder  a  specific  face  of 
type?  pJliat  bo  tljey  sec  in  it?  ^^i]y  is  it  so  supcrlatitiely  pleasaitt  to  their 

(/7C..  peint  leaded  I 

ahcbefgllijkhttnopqrstndtuxysocS^^sJtlll,.:;'-'?!  1234567890 

Matrix  Injormaliun  \^l\^r-,.  l,.,\ver  case  alphabet.  14!  pi.ints.  Figures.  .n.S.l;  c..niina.  peri.id  an.l  tliin  space,  .1)4X4.  Runs  in  On 
channel  magazine.  Tode  w.ird.  MAIP. 

EIGHTEEN    POI  NT 

3SnCu  is  niic  tn  assess  anit  elialiiatc  a  type  face  in  terms  nf  its  esthetic 
itesic^u?  33iU|y  bn  tl|e  pace-mahers  iit  tfie  art  nf  priiitiiui,  raUe  nlier  a 
specific  face  nf  type?  '^\]i\{  ^n  tl|ey  see  in  it?  ^J'^lju  is  it  sn  superta- 

llliui  point  leaded  I 

abcbefglpjhlmnnptirstnlifnxys nc ^i^  ^^  # H|  $,.:;'-'?!  1 23-I5ln78!:Ul 

Matrix  hilonaatien  .  ISA.'X.';,  Lower  rase  alphaliet.  1  .^S  points.  Figures,  .(l')f.K.  Runs  in  '"«)  ch.innel  magazine.  Cnh-  w..rd. 
MAMA. 


569 


Gavd  lialic 


TEN  POI NT 
How  is  one  io  assess  and  evaluate  a  type  face  in  ierms  of  its  eslheiic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in 
it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Qood  design  is  always  practical  de- 
sign. Rnd  what  they  see  m  a  good  type  design  is,  partly,  its  excellent  practical  fitness  to 
perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as 

( tivo  point  tended  I 

flBGDSFgmjKGmir09Q'RSTaVWXYZ§ 
abcdefghijklmnopqrstuvwxyz  [$,.:;'-'?!)  125^567890 

Matrix  Information  :  ]0A131.  Lower  case  alphabet.  \22  points.  Figure  ].  .04M4;  2  to  0.  .0761;  coiiinia.  period  and  thin  space. 
.OJ77.  Runs  in  90  channel  magazine.  Code  word.  ZAAH. 

TWELVE    POI  NT 

flow  is  one  io  assess  and  evaluate  a  iype  face  in  terms  of  lis  eslheiic  design? 
Why  do  the  pace-makers  in  ihe  avi  of  priniing  rave  over  a  specific  face  oi  iype? 
VPhai  do  ihey  see  in  il?  Why  is  ii  so  superlaiively  pleasani  io  iheir  eyes?  Q-ood 
design  is  always  pvaclical  design.  Rnd  whai  ihey  see  in  a  good  iype  design  is, 
partly,  iis  excellent  praciical  fitness  io  perform  its  work.  It  has  a  "heft"  and  haL 

(/7C«  point  leaded  I 

mG'DgFQmjKGmffO'PQ'RSTUVWXYZS 
ahcdefghijklmnopqrsiuvwxyz  ($,.:;'-'?])  123^567890 

Matri.r  Infornnitieni:  1JAI41.  Lower  case  alphabet.  l.V>  points.  Figure  1.  .0484;  2  to  0,  .08.3;  coiuina,  period  and  thin  space. 
.0311.  Runs  in  90  cllannel  niaga/ine.  Code  word.  ZAAZ. 

FOURTEEN    POINT 

How  is  one  io  assess  and  evaluate  a  iype  iace  in  ievms  ol  iis  esiheiic 
design^  Why  do  ihe  pace-makers  in  ihe  ari  of  printing  rave  over  a 
specific  iace  of  iype^  Whai  do  ihey  see  in  li^  Wl'iy  is  ii  so  superla- 
iively pleasani  io  iheir  eyes?  Q-ood  design  is  always  pvaciical  de- 

(tivo  f^diiii  leaded } 

!lhGD8FgmjKGmTfO'PQnSTUVWXYZ& 
abcdefghijklninopqrsiuvwxyz  ($,.:;'-'?!')  125^567890 

Matrix  Infnrmation :  14A97.  Lower  case  alphabet,  16-^  points.  Figure  1.  .0,S5.^:  2  to  0,  .0968;  conuna.  period  and  tliiu  space, 
.038.  Runs  in  90  channel  magazine.  Code  word.  ZABE. 

EIGHTEE  N    POI  NT 

How  is  one  Io  assess  and  evaluate  a  Iype  face  in 
lerms  of  iis  eslheiic  design?  Why  do  Ihe  pace-mak- 
ers in  Ihe  arl  of  prinling  rave  over  a  specific  face  of 
Iype?  Whai  do  Ihey  see  in  il?  Why  is  il  so  superla- 

il-.vo  foini  leaded  I 

abcdefgtfiijkl'mnopq'Esluvwxyz  ($,.::'-'?! J  125hS678 


Matrix  Injonuaiu'u  :  ISA^'^Fi.  Lower  case  alphabet.  216  points.  Figure  1.  .0726;  2  to  0,  .1245.   Runs  in  90  channel  magazine, 
except  figures,  which  will  run  according  to  advertising  figure  layout  or  pi.  Code  word.  ZACI. 


570 


Ca0lon  Cert 


TEN    POI  tJT 

l^oto  ie(  Diu  to  aGGc6£i  nnli  rbaUiatr  a  tppc  face  in  trims  of  its  r5tt)ctic  lirsignr 
HJdl^V  tio  tf)c  pacf=niakcrs  in  tf)r  art  of  printiiiff  rabr  obrr  a  Gprrifir  farr  of  tppti 
Miiiat  lio  tfjrv  Grr  in  iti  mV)v  is  it  so  suprrlatibrip  plrasant  to  t^rir  rprSf 
CBooti  ijrsiffn  is  altoapS  practical  licGiffn.  anti  toftat  tiftv  Src  in  a  gooD  tppr  t>r= 
Siffn  is,  parti)',  its  CEcrllrnt  practical  fitness  to  perform  its  toorfe.  It  fjas  a 
"f)eft"anti  balance  in  all  of  its  parts  just  risljt  for  its  sije,  as  anj'  qoott  tool 
5as.  f^oiir  ffoot)  cl)air  t)«is  all  of  its  parts  matie  nicely?  to  tl)e  rifftjt  sije  to  lio  er= 
actip  tfje  tnork  t^at  tf)e  cl)air  l)as  to  to,  neither  clumSp  anli  tljicft,  nor  "Sftinnp" 

(/;,',.   /.,.1)|/    I,;hI,  ,h 

aBC2D(Eif(BI?3JimiL9l3j^€)^iI5mfe)tIEePCaiirr.)Z<S 
abcbefffljiiKlmnopqrStubtDrpjfiflffffifa  ($£,.:;*=''=frr:i:§' )  l234rKi78?0 

'i/T.  hli   I    Inn, J,  In  1 

clj  cK  II  r  fi  ff  ft  ^  t?  „  " 

,Vn(r;.r  Inliniiiut'uiH  l(IA''l.  Lmvcr  lasc  . il|. hain't ,  I  is  pniiits.  I'lKines.  .(W.'JJ;  i.mnii.i.  period  and  lliiii  spare,  .ri!4f..  Rini-  in  '«! 
iliannel  inaga/ine.  f'dde  wnrd.  ZIJER, 

TWELVE    POI  NT 

IDoUj  i0  one  to  assess  anD  eualnate  a  t^pe  face  in  terms  of  its 
esthetic  Design  r  COftp  Do  tt)e  pace-makers  in  tfte  art  of  printing  raue 
ouer  a  specific  face  of  tppe.'^  CObat  Do  tftep  see  in  it^  M3t)p  is  it  so 
superlatiuelp  pleasant  to  tfteir  e^esr  (SooD  Design  is  alUiaps  prac= 
tical  Design.  3nD  tuf^at  tfjep  see  in  a  gooD  t^'e  Design  is,  partip,  its 
ercellent  practical  fitness  to  perform  its  tnorb.  3t  bas  a  "beft"  anD 
balance  in  all  of  its  parts  just  rigijt  for  its  si>e,  as  anp  gooD  tool 

atJcDefgbiiklmnopqrstuDUJrp^fiflffffiffl  ($£,.: ;^='f/*t$S11)  123456789 
djckUffiffftnV;"",,  " 

Mtitrix  li,i,nw,:li,ni  IJA-''-  la.wer  .as,-  alpliali.-l,  1.,=  p.nnlv  Fii:„i,-s.  .11x4;  .Minni.,,  p.-ri.id  aiul  tlini  spa.e.  ItA:  Runs  in  on 
.hanncl    niav;a/ilie     r,,ilf.  «,,ni.    Zl.TFK 


>.\iiu)     C^ciipl 


<l)\ovO     ii'    oiif     [o     a.s^Sc.S*!     an?   eOulitulc     a     fiip'-'     Uicc     (it     Iciini    oil     il.V    cj- 
IKcfJc      ac.Han  ?      (.('Iiir     do      Hic      pact?  -  nxafccf-^      in      (lie      uit     of       piiiilJixq/ 
A.a'Je'    oOcr    O'  ^nccijic     Jacc     of     (iiiif  ?     Cl'lxul     <.lo     tliftr    .'(t'c    in     it?     (.I'liii 
ii     cl     io-    .Sl^^^>(^^la[i■^viu     p^^'l^,^l^f^l     lo     (lic(r   t^iu'.^  ?    tJood   cIcMiifi     L'i     aivOaii.'c 
ptacucal     tIcMtiii.   Lliii)    ssMuil     llict|     .^cv     in     ci     ip'oD    lijp*.'     clcMiiii     t>"),    piitllii, 


uLac'.|yiij(c'f.)uio|n|t.>l.is\Oxij^  UIUZ  dor  ;^  <j  n^  $,.:;?!-'.', '.  '   i2<S-V-5(S7890 

Mdlii.v    luicrnuiliint:    I8A-71.    I.ouci    i  a-.c   alliliahct.    \^7    pi.itits.    Imsjuics.    .ii7(,I.    Kuiis    in    'ni   iliainu-l    rnaua/inc.    I  ..dc    « 
MAAN. 


571 


JVitrtinu  oit  ^prtl  li^I  nf 
^nnks,  JVmcrtcntta,  ^s. 
^ratuiitgs,  ^tcljiiigs  aiib 
^elcct  J\rtirlcs  frnm  i[]t 
3nl|u  JU'oolvS  Qlollccttuit 


pt  SOlDe  aift  ^f)oppc 


Upper  Left :  Announcement,  set  in  IX  point  Linu  Text. 
Rules:  2  ptiint  Plain  Rule  Matrix  Slide  Nii.  403. 

Upper  Rifjht  :  Catalogue,  set  in  IH  point  I,ino  Scrii)t 
and  8  point  Garainond  No.  3.  Rule:  2  point  Plain  Rule 
Matrix  Sliile  No.  403. 

Above:  Husincss  Card,  set  in  12  point  ("aslon  Text. 
Decoration:  4  point  Oxford  Rule  Matrix  Slide  No.  .WS 
and  8  point  l.)ecorative  Brackets.  Characters  21  and  22 
(8A438). 

Right:  Christmas  Card,  set  in  18.  14  and  12  point  Card 
Italic.  Decoration:  2  point  Matrix  Slides  Nos.  403  and 
.^07.  and  12  point  Vuletide  Border  Matrix  No.  5G4. 


572 


ART  COURSES 


Spanish  Art  (Frmi  the  Stone  Age  to  the  Roman- 
esque Period),  by  Walter  Cook.  Fifteen  lectures 
^  all  illustrated  by  lantern  slides, 

C)paiii.Srv  and  including  discussion.  Mon- 
days, 3.00-4.40  p.  m.,  in  class- 
room B.  This  course  (New  York  University, 
Fine  Arts  42)  is  open  to  the  public.  The  fee  will 
be  $22.00. 


Prehistoric  and  Primitive  Art,  by  Robert 
J.  Goldwater  and  E.  Adamnson  Hoebel.  Fif- 
^j.  teen  lectures  illustrated  by 

<y rtitxiAo/iic/  lantern  slides,  followed  by 
discussion.  Fridays,  2.30- 
4.30  p.m.,  in  Classroom  B.  This  course  (New 
York  University,  Fine  Arts  33)  is  open  to  the 
public.  The  fee  will  be  $22.00. 

Ottonian  Art,  by  Otto  Homburger.  Fifteen 
lectures  illustrated  by  lantern  slides,  and  includ- 
-.  ing  discussion.  Mondays,  11.00 

Uttoiiiait/     a.m. -12. 40  p.m.,  in  Classroom 
C.  This  course  (New  York  Uni- 
versity, Fine  Arts  266)  is  open  to  the  public. 
The  fee  will  be  $22.00. 


Merry  Ghmslmas 


May  ihe  Spirit  of  Qood  Gheer  and 
Gonienimeni  be  with  you  on  ihis 
Ghnsimas  f)ay  and  may  ihe  Tfew 
Year  bring  io  you  a  full  share  of 
Happiness  and  'Prosperity 

Mortimer  Swing  Scoii 
Gleveland,  Ohio 


LINOTYPE 

MEMPHIS 


IN   FOUR    USEFUL  WEIGHTS: 


LIGHT  •  MEDIUM  •  BOLD  •  EXTRA  BOLD 


Though  based  on  a  century-old  Egyptian  design.  Lino- 
type Memphis  is  far  removed  from  its  crude  ancestors. 
A  true  contemporary  face  and  the  reflection  of  our 
scientific  times,  it  combines  the  simplicity  of  functional 
form  with  the  style-smartness  useful  for  a  variety  of  ad- 
vertising composition  and  commercial  printing.  Mem- 
phis is  available  in  a  complete  size  range  up  to  144 
point,  in  four  useful  related  weights:  Light,  Medium, 
Bold  and  Extra  Bold,  each  with  an  accompanying  italic. 


ii.M.h4'iJ=nq>) 


MERGENTHALER   LINOTYPE   COMPANY,   BROOKLYN,   N.  Y. 

New  York  City,  Chicago,  San  Francisco,  New  Orleans.  Canadian  Linotype, 
Limited,  Toronto,  Canada.  Representatives  in  Principal  Cities  of  the  World 


=1 

Linotype  Memphis  Family  i 

LIGHT 

MEDIUM          •             BOLD 

EXTRA  BOLD 

A  a  A  a 

A  a  A  a 

A  a  A  a 

A  a  A  o 

B   h  B   b 

B   b  B   h 

B    b  B   b 

B  b  B  b 

C  c  C  c 

C  c  C  c 

C  c  C  c 

C  c   C  c 

D  d  D  d 

D  d  D  d 

D  d  D  d 

D  d  D  d 

E   e  E   e 

E   e  E   e 

E   e  E   e 

E  e  £  e 

F   f    F   f 

F   f    F   / 

F   f    F   f 

F  f   r  i 

G  g  G  g 

G  g  G  g 

G  g  G  g 

G  g  G  g 

H  h  H  h 

H  h  H  h 

H  h  H  h 

H  h  Hh 

I    i    /    i 

I    i    /    i 

I    i    /    i 

I    i    I    i 

J    j   /    i 

J    J    /    7 

J    j    /    7 

I  j  /  i 

K  k  K  k 

K  k  i^  ic 

K  k  1^  fe 

K  k  ICk 

L    1    L    ] 

L    1    L    i 

L    1    L    7 

L  1    L  1 

M  mM  m 

M  mM  m 

M  mTV^  m 

M  m  M  in 

N  n  N  n 

N  n  N  n 

N  n  TV  n 

N  n  N  n 

O  o  O  o 

O  o  O  o 

O  o  O  o 

O  o  O  o 

P   p  P   p 

P   p  P   p 

P   p  P   p 

P  p  P  p 

0  q  0  g 

Q  q  0  g 

Q  q  0  g 

Q  q  Q  q 

R   r    fi   r 

R   I   R  I 

R   r    i?   r 

R  r  II  r 

S   s   S   s 

S    s   S   s 

S    s   S    s 

S  s    S  s 

T   i    T    t 

T   t    T    f 

T  t   r  f 

T  t    T  f 

U  u  U  u 

U  u  [/  u 

U  u  C7  u 

U  u  ir  u 

Y  V  V  V 

V  V  V  V 

V  V  y  V 

V  V  V  V 

W  w  W  w 

W  w  W  w 

WwWw 

ViviWvr      \ 

X  X  X  X 

X  X  X  X 

X  X  X  X 

X  X  X  X 

Y  Y  Y  y 

Y   y  Y  y 

Y  y  y  y 

Y  Y  y  y       i 

Z    z   Z    z 

Z    z   Z   z 

Z    z   Z    z 

Z  z   Z  z 

ALTERNATIVE    CHARACTERS 

A  AG  J 

KflinUJ      aafgt      GC 

^f kty             j 

P  AG  J 

K  mnW     aafgt     G  (, 

3fkty 

Src  Charactt'y  Slunciirg  Paucs  for  Technical  Data 

574 


ADVERTISING  FIGURES 


(LINOTYPE     ) 

MEMPHIS  LIGHT  •  24  and  30  point 

1234567890        1234567890 


30A275.  i'unched  in  regular  position.  Figure  1,  .1245:  2 
to  0.  AO.'^J.  For  two  line  12  point  from  Advertising  Fig- 
ure Mold,  Rutis  in  all  auxiliary  magazines.  Code  word. 
ZEZUT, 


24A.329.  rumhed  in  regular  position.  Figure  1.  .1107;  2 
to  0.  ACif).  Fur  two  line  10  pf)int  from  Advertising  Fig- 
ure Mold.  Runs  in  90  cliannel  maga^-ine.  advertising  fig- 
ure cliannels,  and  in  all  auxiliary  magazines.  Code  word. 
ZF.PCO. 


MEMPHIS  MEDIUM  •  24  point 

1234567890 

24A369.  Punched  in  regular  position.  Figure  1.  .1107;  2  to  0.  .166.  Km   two  line  III  iioint  fmrn  Advertising  Figure  Mold. 
Runs  in  90  channel  magazine,  advertising  figure  channels,  and  in  all  .iiixiliary  magazines.  Code  word.  ZIl.OF. 


MEMPHIS  BOLD  •  14  to  30  point 

123457890  s  7  1234567890     7 

30A265.  Punched  in  regular  position.  Figure  1,  .1245;  2  24A345.  Punched  in  regular  position,  figure  1.  .1107;  2 
to  0.  .1937.  For  two  line  12  point  from  Advertising  Fig-  to  0.  .166,  For  two  line  10  point  from  Advertising  Fig- 
ure Mold.  Runs  in  all  auxiliarv  magazines.  Code  word,  "re  Mold.  Runs  in  90  channel  magazine,  advertising  fig- 
ZESBA.  ure  Lll.nnnU,  ami  in  .all   auxiliary  magazines.  Code  word. 


ZE.'^AZ. 


1234567890 


1234567890 


18A397.    runchetl    in    reyuiar    position.    Size.    .lUi".     Fur  14Al^y.     riuiL-lica    in    icku1.ii     pnMiiuii.    Size.    .U'.^6.S.    For 

two  line  8  point  fifini  Advertising   Fitrure  Mold.  Runs  in  two  line  7  point  from  Advertising  Figure  Mold.  Runs  in 

90  channel  nicit;a/ine.  Code  word.  ZICFE.  90  channel  magazine.  Code  word.  ZICER. 


MEMPHIS   EXTRA  BOLD  •  18  to  48  point 

1234567890 

48A23.  Punched  in  auxiliary  position.  Figure  1.  .2698;  2  to  0,  .3666.  For  two  line  IS  point  from  Recessed  Special 
Advertising  Figure  Mold,  or  three  line  12  point  from  Special  Advertising  Figure  Mold.  Runs  pi.  Code  word.  ZIDBI. 

1234567890 

36A161.  Tuiiclied  in  auxiliary  position.  Figure  i.  .19,17;  J  to  0.  .J(,J9.  I-"i>r  two  lint-  \4  point  from  Recessed  Special 
Advertising  Figure  Mold,  or  three  line  in  point  from  Special  Advertising;  Figure  Mohl.  Runs  in  Wide  .M  channel 
auxiliary  maga/ine.  Code  word.  ZIDAR 

1234567890 

30A285.  I'unched  in  regular  position.  Figure  1,  .166;  2  to  i).  .J2L1.  For  two  line  12  point  from  .Advertising  Fignre 
Mold.  Runs  in  34  chainiel  auxiliary  magazine.  Code  word.  ZIDOIJ. 

1234567890  1234567890 

24A355.    Punched  in  regular  i)ositi..n.    Figure  1.  .13H,^:  2  18A403.    Punched  in  regular  position.    Figure   I.  .0968;  2 

to  0.  .1937.   For  two  line  10  point  from  Advertising   Fig-  to  0.   .1383.    For  two  line  8  point   from  Advertising   Fig- 

ure Mold.  Runs  in  all  auxiliary  magazines.  Code  word.  ure  Mold.  Runs  in  90  channel  magazine,  advertising  fig- 

7.\Y)\JJ.  ure  channels,  and  in  all  auxiliary  magaziines.  Code  word, 

ZIDNI. 

note:  Fractions,  points,  cent  mark,  and  other  commercial  characters  are  available  ior  these  fonts. 


575 


Meldor  national  bank 

Hanton,  Wyoming 


A.  R.  RODCERS,  PRESIDENT 

H.  J.  Fhengeh,  vice-president 
R.  R.  Turner,  cashier 


RETURN  AFTER  FIVE  DAYS  TO 

MELDOR  NATIONAL  BANK 

HANTON,  WYOMING 


Lettcihcad :  Set  in  12  point  Bold.  A,  B  and 
C;  6  point  Bold  and  B.  and  6  point  Light  B, 

Envelope :  Set  in  6  point  Bold,  Bold  A  and 
B:  and  6  point  Light  B. 


■  LINING 
MEMPHIS 

in  both  Light  and  Bold 

The  various  sizes  of  both  series  will  run  in 
magazines  as  follows  (according  to  Keyboard 
Diagram  No.  98) :  The  three  sizes  of  6  point 
may  be  accommodated  in  one  90  channel  maga- 
zine. The  four  sizes  of  12  point  will  run  in  the 
lower  case,  center  or  cap  channels  of  a  90  chan- 
nel magazine,  except  the  largest  size  which  is 
restricted  to  the  cap  channels. 

The  three  sizes  of  6  point  and  the  four  sizes 
of  12  point  can  thus  be  accommodated  in  two 
90  channel  magazines  with  one  size  running  in 
the  au.xiliary.  The  largest  size  of  the  6  point 
and  any  one  of  the  12  point  sizes  will  run  in 
the  34  channel  and  wide  M  channel  auxiliary 
magazine.  The  A  and  B  sizes  of  6  point  will 
run  in  the  .14  channel,  but  not  the  wide  auxil- 
iary magazine. 

The  three  sizes  of  6  point  are  on  the  same 
alignment,  and  will  cast  on  a  6  point  slug.  The 
four  sizes  of  12  point  are  all  the  same  align- 
ment and  will  cast  on  a  12  point  slug. 


6  THREE  USEFUL  sizes  of  six  point:  how  is  one  to  assess  and  evaluate  A  TYPE  F 

THREE  USEFUL  sizes  of  six  point:  how  is  one  to  assess  and  evaluate  A  TYPE  F 

POINT     ^  ^°'"'  ^  I6A3861  Figures,  .0484.  Code  word,  ZEMEP. 

*    ^^      *^  ABCDEFGHIJKLMNOPQRSTUVWXYZSy^CE    1234567890    ($,.:;-'?!) 

ABCDEFCHIIKLMN0PQRSTUVWXYZSA:<E   1234567890   ($,.:,-•?!) 

6  Point  A  (6A3.84)  Figures,  .0553.  Code  word.  ZEMEJ. 
ABCDEFGHIJKLMNOPQRSTUVVl?XYZ&./€:CE    1234567890   ($,.:;-'?!) 
ABCDErGHlJKLMNOPQRSTUVWXYZ4.ffi:CE   1234S67890  ($,.:;-'?!) 

6  Point  <6A382)  Figures.  .0622.  Code  word,  ZEMEC. 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&yECE  1234567890  ($,.:,-'?!) 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&iECE  1234567890  ($,.:;-'?!) 

Y2         FOUR  USEFUL  SIZES  OF  TWELVE  point:  how  is  one  to 
POINT   -^OU^  USEFUL  SIZES  OF  twelve  point:  HOW  IS  ONE  TO 

12  Point  C  (12A428)  Figures.  .0622.  Code  word,  ZEMID. 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE  1234567890  ($,.:,-'?!) 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&JECE  1234567890  ($,.:,-'?!) 

12  Point  B  (12A426)   Figures.  .0692.  Code  word.  ZKMIIU. 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&.z^CE   1234567890  ($,.:,-'?!) 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&^ECE  1234567890  ($,.:;-'?!) 

12  Point  A  (12A424)  Figures,  .08J.  Code  word.  ZEMFI. 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE  1234567890 
ABCDEFGHIJKLMNOPQRSTUVWXYZd-ffiCE  1234567890 

12  Point  (12A4341  Figures.  .0968.  Code  word.  ZENAJ. 

ABCDEFGHI JKLMNOPQRSTU  VWX  YZ^CE  1 234 
ABCDEFGHIJKLMNOPQRSTUVWXYZ-ffiCE  1234 


CABLE  ADDRESS:  PaRKPUBS 


TELEPHONE:  MEDALLION  3-5726 


Parkshaw  Publications,  Inc. 

27  Fifth  Avenue,  New  York 


Production  Department 


Letterhead:  Set  in  12  point  Bold,  n  .and  r ;  .,nd  6  point  Light  and  Eight 
B.  fi  point  Bold  A  .md  B. 

Card    .Set  in  12  point  Bold  A  and  C;  6  point  Bold  and  I!:  6  point  Light 
A  and  B. 


John  Roderick  Hughes 
broker 

Real  Estate  and  Automobile  Insurance 


TELEPHONE: 
ARCADE    573 


27  post  arcade 
Greenwood,  Ohio 


MEMPHIS  LIGHT  with  ITALIC  and  Small  Caps 


% 


6  Point  (6A368)  I.nwer  case  alphabet.  97  points.  FiEures,  .04X4 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of  pri  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  lace  in  terms  ol  its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of  pri  vbcd 

8  Point   (8A450I  T.ower  case  alplialiet.  104  points.  Figures.  .O.SS.? 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  lace  in  terms  ol  its  esthetic  design?  Why  do  the  pace-makers  in  the  vbcd 

10  Point  (I0A414I  I.ower  case  alpliabel,  1.14  points.  Figures,  .069J 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  d  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  d  vbcd 

12  Point   (12A.''""  Lower  case  alphabel.   HV,  points.   I'iKiires,  .08,1 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  vbcd 

14  Point   (MA-OXl  Lower  case  alphabet.  195  points.  Figures.  .OOCK 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  i  1 234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  ol  i  vbcd 

18  Point   (18A347)  Lower  case  alphabet.  22>-,  points.   Fisures.  .1107 

HOW  IS  one  to  assess  and  evaluate  a  type  face  in  1 1234 

24  Point   I24A101  l  Lower  c.ive  alpliabet.    lo.s  jioints.   Fimire  1,     1107:  2  t..  n,  ,lf,(; 

HOW  IS  one  to  assess  and  evaluate  1234 

30  Point   (3nA22.1)  Lower  .  .isc  .[liili.ihct .   lofl  points.   Figure  1,  .1245:  2  t..  ll.  ^^'^7 

HOW  IS  one  to  assess  and  eva  1234 

36  Point   (.if,A127)  I  owcr  case  .ilphabet.  453  points.   I'luurc  I,  .1t22:  2  to  0.  .2351 

HOW  IS  one  to  assess  1234 


-<ETiNDfYPEHE)- 


LIST   OF   CHARACTERS   AVAILABLE    IN    TWO-LETTER    FONTS 
WITH    ITALIC    AND    SMALL   CAPS 

AABCDEFGHIJKLMNOPORSTUVWXYZ 
AflBCDEFGHIJKLIVlNOPQRSTUVWXYZ 

ABCDEFGHI J  KLMNOPQRSTUV  WX  YZ 

12345       aabcdeffghijklmnopqrstuvwxyz       67890 
VBCDE       aQbcdeffghijklmnopqrstuvwxyz       fgrtj 

,  .  :  ;  ?  !  «  »  (  I  )  *  '  -  —  ^  OE  !b  5c  £  $  .  .  . 

,.S;?/«»AIQO' a:  CE  lb  N  £PL  .    .  . 

12345       Z  (S  :  ( )  $  «  oe       67890 
12345       ud^.-nSoece       67890 

Vs   V4  %   ^2  Vs  %  %       H  K  M  W  X  Y  Z  &  ^  CE       OO     %  f  $  §  H  -  [  ] 


SPECIAL   CHARACTERS,   SPECIAL    NO    1 


A  a  f 

G  K  m  n  m 

n  a  f 

e  H  m  n  w 

Ma.le  m  all  si/es  and 
incluileil  in  all  fonts 

Ma.le  ni  all  si/e-  .iiiil  siippbeil 
,.n  spe.  i.,1  ,.r,ler 

577 


<J^ 


MEMPHIS  LIGHT  with  ITALIC  and  Small  Caps 


SIX    POINT 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN 
TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MA 
C  How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its 

esthetic  design?  Why  do  the  pace-makers  in  the  art  of  print- 
POINT  inq  rave  over  a  specific  face  of  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  de- 
sign is  always  prac(jcaJ  design.  And  what  they  see  in  a  good 
type  design  is,  partly,  its  excellent  practical  fitness  to  per- 
form its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts 
just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair 
has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly 
the  w^ork  that  the  chair  has  to  do,  neither  clumsy  and  thick, 
nor  "skinny"  and  weak,  no  w^aste  of  material  and  no  lack  of 
strength.  And,  beyond  that,  the  chair  may  have  been  made 
by  a  man  who  ■worked  out  in  it  his  sense  of  fine  shapes  and 
curves  and  proportions:  it  may  be,  actually,  a  -work  of  art. 
The  same  thing  holds  for  shapes  of  letters.  And  your  chair, 
or  your  letter  (if  a  true  artist  made  it)  will  have,  besides  its 
good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or 
stamped  on  paper  and  read.  That  explains,  in  a  v^ay,  why 
the  experts  rave  over  the  fine  shapes  of  letters;  but  it  fails  to 
explain  wherein  the  shapes  are  fine.  If  you  seek  to  go  further 
with  the  inquiry,  theories  "will  be  your  only  ansv/er.  Here  is 
a  theory  that  the  proponent  thinks  may  have  sense  in  it:  Fine 

(  two   pol 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN 
TEBMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MA 
Ho'w  is  one  to  assess  and  evaluate  a  type  lace  in  terms  of  its 
esthetic  design?  Why  do  the  pace-makers  in  the  art  ol  print- 
ing rave  over  a  specific  iace  ol  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  de- 
sign is  always  practical  design.  And  vi^hat  they  see  in  a  good 
type  design  is,  partly,  its  excellent  practical  fitness  to  per- 
form its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts 
just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair 
has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly 
the  v^ork  that  the  chair  has  to  do,  neither  clumsy  and  thick, 
nor  "skinny"  and  weak,  no  waste  of  material  and  no  lack  of 
strength.  And,  beyond  that,  the  chair  may  have  been  made 
by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and 
curves  and  proportions:  it  may  be,  actually,  a  work  of  art. 
The  same  thing  holds  for  shapes  of  letters.  And  your  chair, 
or  your  letter  (if  a  true  artist  made  it)  tvHI  have,  besides  its 
good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or 
stamped  on  paper  and  read.  That  explains,  in  a  way,  why 
the  experts  rave  over  the  fine  shapes  of  letters;  but  it  fails  to 
explain  "wherein  the  shapes  are  fine.  If  you  seek  to  go  further 
with  the  inquiry,  theories  -will  be  your  only  answer.  Here  is 
a  theory  that  the  proponent  thinks  may  have  sense  in  it:  Fine 
It  h-ndi-J) 


AflBCDEFGHIJKLMNOP0RSTUVWXYZ&        AflBCDEFGHIlKLMNOPQRSTUVWXYZ& 

ABCDEFGHIJKLMNOPQHSTUVWXYZ5 

aabcdeffghijklmnopqrstuvwxyz  1234567890  ($£,.:;-'?!«»*t)        aabcdeffghijklmnopqistuvwxyz  1234567890 ($C,.::-'?!'.»'f) 

Matii.v   [nfiinnatiini  :  6A368.   I.uwer  case  alphaliet,  97  points,    l-'igures.   .0484;  eoniiiia.   period  and  thin  space.    .U277.   Runs  in  yO   channel  maga- 
zine. Code  word.  ZEKSU. 


-(LINOTYPE   ")- 


EIGHT   POINT 


8 


POINT 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FA 
IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  P 
How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in  the  art 
of  printing  rave  over  a  specific  face  of  type?  What  do 
they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  al'ways  practical  design.  And  ./hat 
they  see  in  a  good  type  design  is,  partly,  its  excellent 
practical  fitness  to  perform  its  v/ork.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  itr,  size,  as  any 
good  tool  has.  Your  good  chair  has  all  of  its  parts  made 
nicely  to  the  right  size  to  do  exactly  the  work  that  the 
chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny" 
and  weak,  no  waste  of  material  and  no  lack  of  strength. 
And,  beyond  that,  the  chair  may  have  been  made  by  a 
man  who  worked  out  in  it  his  sense  of  fine  shapes  and 
curves  and  proportions:  it  may  be,  actually,  a  work  of 
art.  The  same  thing  holds  for  shapes  of  letters.  And  your 
chair,  or  your  letter  (if  a  true  artist  made  it)  will  have,  be- 

f  two  po 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FA 
IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  P 
How  is  one  to  assess  and  evaluate  a  type  iace  in  terms 
ot  its  esthetic  design?  Why  do  the  pace-makers  in  the  art 
ol  printing  rave  over  a  specihc  iace  of  (ype?  What  do 
they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design.  And  v/hat 
they  see  in  a  good  type  design  is,  partly,  its  excellent 
practical  iitness  to  perform  its  work.  It  has  a  "helt"  and 
balance  in  all  of  its  parts  just  light  /or  its  size,  as  any 
good  tool  has.  Your  good  chair  has  all  of  j(s  parts  made 
nicely  to  the  right  size  to  do  exactly  the  work  that  the 
chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny" 
and  weak,  no  waste  of  material  and  no  lack  of  strength. 
And,  beyond  that,  the  chair  may  have  been  made  by  a 
man  who  worked  out  in  it  his  sense  ot  line  shapes  and 
curves  and  proportions:  it  may  be,  actually,  a  work  of 
art.  The  same  thing  holds  tor  shapes  ot  letters.  And  your 
chair,  or  your  letter  (if  a  true  artist  made  it)  wj7i  have,  be- 
nt leaded) 


AflBCDEFGHIJKLMNOP0RSTUVWXYZ&       ARBCDEFGHUKLMNOP0RSTUVWXYZ& 

ABCDEFGHIJKLMNOPQRSTUVWXYZS 

aabcdeffghijklmnopqrstuvwxyz  1234567890        aabcdetfghijklmnopgrstuvwxyz  1234567890 
($£,.:;-■?!«  »*t)        ($£,.::-'? '"'i) 


MatriA    Infonnulioii     SA4.S0.    Lower  case  alphabet.   1114  points 
zine.  Code  wonl.  Z..\YTO. 


1-igures.  .0553;  cuniina.  period  and  thin  space.  .0277.   Kuns  in  90  channel  inaga- 


578 


MEMPHIS  LIGHT  with  ITALIC  and  Small  Caps 


^ 


POINT 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC 
DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPEC  JQ 
How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent  practical  fitness  to  perform 
its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool 
has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly  the  work 
that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of  mate- 
rial and  no  lack  of  strength.  And,  beyond  that,  the  chair  may  have  been  made  by  a  man  who 
worked  out  in  it  his  sense  of  fine  shapes  and  curves  and  proportions:  it  may  be,  actually,  a 
work  of  art.  The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  letter  (if  a  true 
artist  made  it)  will  have,  besides  its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or 
stamped  on  paper  and  read.  That  explains,  in  a  way,  why  the  experts  rave  over  the  fine 
shapes  of  letters;  but  it  fails  to  explain  wherein  the  shapes  are  fine.  If  you  seek  to  go  further 
with  the  inquiry,  theories  will  be  your  only  answer.  Here  is  a  theory  that  the  proponent  thinks 
may  have  sense  in  it:  Fine  type  letters  were,  in  the  first  place,  copies  of  fine  written  letters. 
Fine  written  letters  were  fine  because  they  were  produced  in  the  most  direct  and  simple  way 
by  a  tool  in  the  hands  of  a  person  expert  in  its  use,  by  a  person,  moreover,  who  was  an 
artist,  i.e.,  a  person  equipped  to  make  sound  judgments  about  lines,  curves,  proportions,  etc. 

((Hi,,  poinl  l<;,d,;ll 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC 
DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPEC 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  oi  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent  practical  fitness  to  perform 
its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool 
has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly  the  work 
that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of  mate- 
rial and  no  lack  of  strength.  And,  beyond  that,  the  chair  may  have  been  made  by  a  man  who 
worked  out  in  it  his  sense  of  fine  shapes  and  curves  and  proportions:  it  may  be,  actually,  a 
work  of  art.  The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  letter  (if  a  true 
artist  made  it)  will  have,  besides  its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or 
stamped  on  paper  and  read.  That  explains,  in  a  way,  why  the  experts  rave  over  the  fine 
shapes  of  letters;  but  it  fails  to  explain  wherein  the  shapes  are  fine.  If  you  seek  to  go  further 
with  the  inquiry,  theories  will  be  your  only  answer.  Here  is  a  theory  that  the  proponent  thinks 
may  have  sense  in  it:  Fine  type  letters  were,  in  the  first  place,  copies  of  fine  written  letters. 
Fine  written  letters  were  fine  because  they  were  produced  in  the  most  direct  and  simple  way 
by  a  tool  in  the  hands  of  a  person  expert  in  its  use,  by  a  person,  moreover,  who  was  an 

AflBCDEFGHIJKLMNOP0RSTUVWXYZ<S 
ARBCDEFGHIJKLMNOP0RSTUVWXYZ& 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

aabcdeffghijklmnopqrstuvwxyz  1234567890  ($£,.:,-'?!  «»*t) 
aabcdeffghijklmnopqrstuvwxyz  1234567890  ($£,.:;-'? !«»*-f) 

Miiliir  l,il,ntii,ili,n,  lllA^M.  I.nwer  case  .llplialict.  1,14  pnint-;.  FlKUres.  .IH,<J2:  coniiiia.  pcrii.d  anil  Ihin  -.paif.  MMi,  Kuiis  in  ''0  rliannel  in.iK,i- 
/in.-.  Cn.le  word.  ZAYUM- 


579 


i^ 


MEMPHIS  LIGHT  with  ITALIC  and  Small  Caps 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF 
12  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF 
POINT  How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to 
their  eyes?  Good  design  is  always  practical  design.  And  what  they  see  in 
a  good  type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its 
work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the 
right  size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and 
thick,  nor  "skinny" and  weak,  no  waste  of  material  and  no  lack  of  strength. 
And,  beyond  that,  the  chair  may  have  been  made  by  a  man  who  worked 
out  in  it  his  sense  of  fine  shapes  and  curves  and  proportions:  it  may  be, 
actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of  letters.  And  your 
chair,  or  your  letter  (if  a  true  artist  made  it)  will  have,  besides  its  good  looks, 
a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped  on  paper  and  read. 

itJircc  poii\t  leaded  i 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF 
ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  ot  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to 
their  eyes?  Good  design  is  always  practical  design.  And  what  they  see  in 
a  good  type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its 
work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the 
right  size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and 
thick,  nor  "skinny" and  weak,  no  waste  of  material  and  no  lack  of  strength. 
And,  beyond  that,  the  chair  may  have  been  made  by  a  man  who  worked 
out  in  it  his  sense  of  fine  shapes  and  curves  and  proportions:  it  may  be, 
actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of  letters.  And  your 
chair,  or  your  letter  (if  a  true  artist  made  it)  will  have,  besides  its  good  looks, 

lthr,-c  pcint  Uadcdl 

AABCDEFGHlIKLMNOP0RSTUVWXYZ5c 
ARBCDEFGH11KLMNOPQRSTUVWXYZ& 

ABCDEFGHI J  KLMNOPQRSTUVWXYZ& 

aabcdeffghijklmnopqrstuvwxyz  1234567890  ($£,.:,-'?! «»*t) 
aabcdeffghijklmnopgrstuvwxyz  1234567890  ($£,.: ;-'?!«»*f) 

Matrix  Iniormativn  12A390.  Lower  case  alphabet.  166  points.  Figures,  .083;  comma,  period  and  thin  space,  .04I.S.  Runs  in  90  channel  maga- 
zine. Code  word.  ZAYUT. 


580 


MEMPHIS  LIGHT  with  ITALIC  and  Small  Caps 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN 
TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE- 
How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its 
esthetic  design?  Why  do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why 
is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is 
always  practical  design.  And  Mrhat  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fitness  to  perform  its 
work.  It  has  a  "heft" and  balance  in  all  of  its  parts  just  right  for 
its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts 
made  nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair 
has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no 
waste  of  material  and  no  lack  of  strength.  And,  beyond  that,  the 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN 
TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE- 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its 
esthetic  design?  Why  do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specilic  lace  ol  type?  What  do  they  see  in  it?  Why 
is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is 
always  practical  design.  And  what  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fitness  to  perform  its 
work.  It  has  a  "heft" and  balance  in  all  of  its  parts  just  right  for 
its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts 
made  nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair 
has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no 

(Ivin    fomt  U-aJidl 

AABCDEFGHIJKLMNOPQRSTUVWXYZSc 
AnBCDEFGHIIKLMNOP0RSTUVWXYZ& 

ABCDEFGHIJKLMNOPQRSTUVWXYZ6c 

aabcdeffghijklmnopqrstuvwxyz  1234567890  ($£,.:;-'?! «»*t) 
aabcdeffghijklmnopqrstuvwxyz  1234567890  r^£,.;;-7./«»*tJ 

iliiln.v  hiliniiwtion:  14A2n8.  Lower  case  alpliabet.  195  piiiilts.  FiKures.  .0968;  coniiiia.  i)eriod  and  tlliii  space.  .0484.  Runs  in  "JO  channel  maga- 
zine. (  i.de  wnrd.  ZAYUZ. 


% 


14 

POINT 


581 


H2^ 


MEMPHIS  LIGHT 


EIGHTEEN    POINT 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  F 
POINT  How  is  one  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to 
their  eyes?  Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design  is,  pa  ($,.:;-?!) 


24 

POINT 


582 


(.ti.r  p<'n,t  U-adcd) 


AflBCDEFGHIIKLMNOPORSTUVWWXYZ6< 
aabcdeffghijklmnopqrstuvwxyz  1234567890  (GQ&kty) 

special  .\'o.  15 
Matrix  Infonuatiun     l.x^347.  Lower  case  alphahel.  JJ(i  ptimls-   Figures,  .1HJ7.  Riiiis  iti  'Jii  chaniie]  inaga/iiie.  SiiiallesI  slug  on  which  this  face 
will  cast  is  16  point.  Code  word.  ZAHPO.    Also  available  in  two-letter  matrices  as  Memphis  Light  with  Memphis  Bold    (18A16). 
code  word,  ZEZEP;  and  as  Memphis  Bold  with  Memphis  Light  ( 18A48),  code  word,  ZIDPO. 


-(LINOTYPE"    )- 


TWENTY-FOUR   POINT 


HOW  IS  ONE  TO  ASSESS  AND  E VALU 
How  can  any  one  assess  and  evaluate 
a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  printing 
art  rave  over  a  specific  type  face?  What 
do  they  see  in  it?  Why  is  it  so  pleasant  to 
their  eyes?  Good  xyz  1234567890  ($,.:;-'?!) 


(four  point  leaded) 


AflBCDEFGHIIKLMNOPQRSTUVWXY 
aabcdeffghijklmnopqrstuvw  (GQ&kty) 

social  .V,).  /,•; 
Matrix  Information:  24A.''01.   Lower  case  alphabet,  308  points.  Figure  1.  .1107;  2  to  0.  .166.   Rims  in  72  channel  magazine.   Smallest  slug  on 
which  this  face  will  cast  is  22  point.  Code  word.  ZAYDE.  Also  available  in  two-letter  matrices  as  Memphis  Bold  with  Memphis  Light 
(  24 A48).  Code  word,  ZIDSA. 


MEMPHIS  LIGHT 


THIRTY    POINT 


^ 


How  is  one  to  assess  and  evaluate 
any  type  face  in  terms  of  its  esthetic 
design?  Why  do  the  pace-makers 
in  the  1234567890  ($,.:;-'?!)  G  Q  &  k  t  y 

(A-i.r  />,.,,!/  Icuird)  S filial  \,,.  1^ 

AABCDEFGHIIKLMNOPQRST 

UVWXYZ& 
aabcdef  f  ghij  klmnopqrstuvwxy  z 

Matrix  Information  ■  Mi/\223.  Lower  case  alphabet,  M>i>  p.ilms.  Figure  1,  .I_MS:  2  to  0.  .I'J.^?.  Kiins  in  Wide  72  cliaiiiie!  magazine:  als"  lower 
case  in  cap  channels  of  72  channel  magazine  with  caps  and  tignres  in  Wide  .14  channel  auxiliary  niaga/ine.  Smallest  slug  on  which  this  face  will 
cast  is  28  point.  Code  word,  ZAVEJ. 


30 

POINT 


-(      LINOTYPE"   )- 


THIRTY-  SIX   POINT 


How  is  one  to  evaluate  and 
assess  type  faces  in  terms  of 
their  esthetic  do  aabcdeffgh 
ij klmnopqrstuvwxy z  ($;.:;-'?!) 

AflBCDEFGHUKLMNOP 
ORSTUVWXYZ& 

Matrix  Injuituatwn  M>lsM7.  l.<.ucr  c.i^e  alphatiel.  -4^.1  points.  Fi«nre  1,  A^22:  2  \"  D,  .2^^\.  Runs  in  Wide  .^4  channel  auxiliary  mat^a/ine;  also 
lower  case  in  cap  channels  of  Wide  72  channel  tnaga^ine.  Smallest  slug  on  which  this  face  will  cast  is  M  point,  (.^'de  uord.  ZAVFl. 


36 

POINT 


583 


H© -^^ 


MEMPHIS  LIGHT 


72  Pnint  (72A1037)  Lower  case  alphabet.  869  points.  Code  word.  ZAVIT 

72 


Best  quality  $4 
Snappy  shoes 


60  Point   (60A10J7I   Lower  case  alphaliet.  757  points.  Code  word.  ZAVIM 


60 


Sale  of  very  fine 
lersey  suits  of  all 


54  Point  (54A10.17)  Lower  case  alpliabet.  695  points.  C(.de  vvord.  ZAVHI 


54 


Large  showing  of 
Coats  in  grey  or  2 


48  Point  (4SAHU7)  Lower  case  alpliabet.  611  points.  Code  word,  ZAVFA 

48 


Many  models  are  34 
On  display  for  those 


42  Point  (4JA1037)  Lower  case  alphabet.  536  points.  Code  word.  ZAVEY 


*^  Knowledge  guides  the 
Man  who  sought  his  56 

A-P-L  range  also  includes  6,  8. 10. 12. 14, 18.  24.  30  and  36  point  sizes,  inclusive 

583  a 


MEMPHIS  LIGHT 


R-P-L 


© 


144  I'oiiit  (M4Ain,17)  Lower  case  aliili.il.el.  IMJD  pciiitx.  C,,,!,-  word.  ZECNI 


Is  hope 


144 


120  I'uiut   ()J()AHU7)   l.ouer  tase  alphabet.   154')  puiiits,  Cile  word.  ZECMli 


One  of  2 


120 


9fi  Pcim  ('WAin.17)  I.i.ner  case  alphalict.  115(1  ii.iii.ts.  (  ..de  wi.rd.  ZECLA 


The  past  3 
And  a  fine 


96 


84  rniiit   IS4Air07)   l.dwer  case  alplialiel.  lOlJ  puiiits,  Cide  w.nd.  ZKC'KU 


Idea  to  go  4 

gain! 


84 


583  b 


-^ 


RANGE  of  SIZES  •  MEMPHIS  MEDIUM  with  ITALIC 

6  PdiTit  (6A326)  T-ower  case  alphabet.  97  points.  Figures.  .0484 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of  pri  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  lace  in  terms  ot  its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of  pri  1234 

8  I'.iiiit  (SA4^''.I  Louev  lave  .ili.h;il.cf ,  111^  pmhUs.  Figures.  ,055,? 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  1234 

9  I'.iint   C'AMM  Lower  tase  alphaliel.  121  points.  Figures.  .n6.'2 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace- 1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  tace  in  terms  of  its  esthetic  design?  Why  do  the  pace- 1234 

10  I'.iint   (1IIA41,«I  I.Mwer  c.ise  .iliili.'ihet.  1.15  points.   Figures.  .(1692 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  d  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  ot  its  esthetic  design?  Why  d  1234 

IJ  I'nint   (IJ.A,Msi  Lower  case  .ilph.il.ft.  lo7  points,   FiKures.  .118,! 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  tace  in  terms  of  its  esthetic  1 234 

14  I'.iint    I14A21JI  I.i.wer  case  alpliahet.  107  p. .nits,   FiKtires.  .I)96» 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  tace  in  terms  of  1234 

I,s  r. , int.  lu.. -Letter   ll.SA2.«)  Lou  er  lase  alpli. diet ,  j!l  points,   Iii;nres.  ,1107 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  i  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  i  1234 

IX  I'.iint.  One- Letter  (l,SA.'70i  L.iwer  ,  ase  .iliili.iliet .  J,io  piiints,   Fiuures.  ,1107 

HOW  IS  one  to  assess  and  evaluate  a  type  face  in  1234 

24  I'oint  (24A.'!49l  Lower  case  alphabet.  320  points.  Figure  1.  .1107;  2  to  0.  .166 

HOW  IS  one  to  assess  and  evaluat  1234 

.■?n  p.  iiiit    l«l,'.._^7Ii  1  i.wer  case  ;,li,li,-,l.ct,    i.'-'n  p,  .,,,1  s    Fiunre  1.  .  1  24=  ;  2  to  0,  ,  1 017 

HOW  IS  one  to  assess  and  ev  1234 

,Vi  I'iiint   I  V.AKiO)  Lower  use  aliih.al.et.  47-!  points.   Figure  1.  ,1522;  2  t..  0.  ,2151 

HOW  IS  one  to  assess  1234 

1.0  I'i.inl,  I  Im-   I  ctKi    iIXA,181l  Li.wer  .  ,ise  aliihabet,  211    p.iiiits,   Ficiires.  ,1107 

HOW  IS  one  to  assess  and  evaluate  a  type  tace  in  1234 

(.c  LINOTYPE") 

LIST   OF   CHARACTERS   AVAILABLE    IN    TWO-LETTER    FONTS 

AfiBCDEFGHIJKLMNOPQRSTUVWXYZ& 

ARBCDEFGHIJKLMNOPQRSTUVWXYZ& 

12345         aabcdeffghijklmnopqrstuvwxyz         67890 

12345         aabcdeffghijklmnopqrstuvwxyz         67890 

$£,.:;-'?!«»-!— i^CEaeoe        .  .  .()*t*§fl[](o)lb%  Vs  1/4  %  >/2  Vs  %  % 

$£,.:;-'?!«  »-!— ^CEsece ...       (r  t*§11[]@ffi  %  Vs  Va  Vb  Vz  Va  %  % 

SPECIAL   CHARACTERS 

SPECIAL    NO,    10  SPECIAL    NO     I OA  SPECIAL    NO     I 

AJO&     agt        AJQ&  AJQ&  flaf  G  K  HI  R  UJ 

AJQ&ag/       ajq&  Aja&  Ra)  €  K  m  n  W 

Made  in  all  si/es  and  supijlied  on  special  order.  The  For  use  with  Siiecial  No.  .5  Made  in  all  sizes  and  Made  in  all  sizes  and 

small  caps  are  tiii  use  with  Tw(T-Letter  Small  Caps  Two-Letter  Small  Caps  included  in  all  fonts        supplied  on  special  order 

TVv'O-LETTER    SMALL    CAPS 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&        ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

SPECIAL    NO     5     SMALL    CAPS 

ABCDEFGHIJKLMNOPQRSTUV  WX  YZ&       ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

Two  different  sizes  of  Two-Letter  Small  Caiis  are  available,  as  e.xtras.  in  Roman  and  Italu 
ROMAN    AND    ITALIC    LOGOTYPES  SPECIAL    NO     1  SPECIAL    NO     10 

TaTeToTrTuTwTyVaVeVoWaWeWiWoWrYaYeYo       TaVaWaYa  TaVaWaYa 

Ta  Te  To  Tr  Tu  Tw  Ty  Va  Ve  Vo  Wa  We  Wi  Wo  Wr  Ya  Ye  Yo       Ta  Va  Wa  Ya  Ta  Va  Wa  Ya 

FAPATAVAWAYAThWh  FA  PA  TAVAWAYA 

Memphis  Medium  Condensed  Series— See  Addenda 


584 


MEMPHIS  MEDIUM  with  ITALIC 


^ 


SIX    POINT 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN 
TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE  MA 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its 
esthetic  design?  Why  do  the  pace-makers  in  the  art  of  print- 
ing rave  over  a  specific  face  of  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  de- 
sign is  always  practical  design.  And  what  they  see  in  o  good 
type  design  is,  partly,  its  excellent  practical  fitness  to  per- 
form its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts 
just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair 
has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly 
the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick, 
nor  "skinny"  and  weak,  no  w^aste  of  material  and  no  lack  of 
strength.  And,  beyond  that,  the  chair  may  have  been  made 
by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and 
curves  and  proportions:  it  may  be,  actually,  a  work  of  art. 
The  same  thing  holds  for  shapes  of  letters.  And  your  chair, 
or  your  letter  (if  a  true  artist  made  it)  will  have,  besides  its 
good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or 
stamped  on  paper  and  read.  That  explains,  in  a  iway,  why 

(t7Vi'  pi'i 

AflBCDEFGHIJKLMNOPQRSTUVWXYZS 
aabcdeffghijklmnopqrstuvwxyz  1234567890  ($£,.:,■-'?!«  »*t) 

'['71','  dUfrrcnt  .u:cs  ./J  fuw-lclti'i   small  ,-<!/•< 
ABCDEFGHIIKLMNOPQHSTUVWXYZi 

SPECIAL  TWO-LETTER   5W 
ABCDEFGHIJKLMNOPQHSTUVWXYZS 


hilnniniliini:  6A^2C. 
i.le  wnrd.  ZEKMA. 


ver  case  alphahet.  97  points.    Figures 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN 
TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACEMA 
How  is  one  to  assess  and  evaluate  a  type  lace  in  terms  ol  its 
esthetic  design?  Why  do  the  pace-makeis  in  the  art  ol  print- 
ing rave  over  a  specilic  lace  oi  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  de- 
sign is  always  practical  design.  And  what  they  see  in  a  good 
type  design  is,  partly,  its  excellent  practical  litness  to  per- 
torm  its  work.  /(  has  a  "helt"  and  balance  in  all  ol  its  parts 
just  right  lor  its  size,  as  any  good  tool  has.  Your  good  chair 
has  all  ol  its  parts  made  nicely  to  the  right  size  to  do  exactly 
the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick, 
nor  "skinny"  and  weak,  no  waste  ol  material  and  no  lack  o/ 
strength.  And,  beyond  that,  the  chair  may  have  been  made 
by  a  man  who  worked  out  in  it  his  sense  ol  line  shapes  and 
curves  and  proportions:  it  may  be,  actually,  a  work  ol  art. 
The  same  thing  holds  lor  shapes  ol  letters.  And  your  chair, 
or  your  letter  HI  a  true  artist  made  it)  will  have,  besides  its 
good  looks,  a  suitability  to  the  nth  degree  (o  be  sat  in,  or 
stamped  on  paper  and  read.  That  explains,  in  a  way,  why 
It  /railed) 


AliBCDEFGHIIKLMNOPQHSTUVWXYZ& 
aabcdelfghijklmnopqrstuvwxyz  1234567890  ($£,. 

ir  ,i7;nl,:hlr.  i(,(  ,m-//im,  in  K.'iii.ni  willi   Italic 

ABCDEFCHIIKLMNOPQRSTUVWXYZS 
\LL  CApr,  ^PEClf  L  no     -. 

ABCDErGHIlKLMNOPQRSTUVWXYZ& 


■■•f) 


1)4X4; 


pericril 


id   tliii 


POINT 


S]li 


-(LINOTYPE     > 


EIGHT    POINT 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FA 
IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  P 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in  the  art 
of  printing  rave  over  a  specific  face  of  type?  What  do 
they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design.  And  what 
they  see  in  a  good  type  design  is,  partly,  its  excellent 
practical  fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as  any 
good  tool  has.  Your  good  chair  has  all  of  its  parts  made 
nicely  to  the  right  size  to  do  exactly  the  work  that  the 
chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny" 
and  weak,  no  waste  of  material  and  no  lack  of  strength. 
And,  beyond  that,  the  chair  may  have  been  made  by  a 
man  who  worked  out  in  it  his  sense  of  fine  shapes  and 
curves  and  proportions:  it  may  be,  actually,  a  work  of 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FA 
IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  P 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms 
oi  its  esthetic  design?  Why  do  the  pace-makers  in  the  art 
ol  printing  lave  over  a  specilic  face  of  type?  What  do 
they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design.  And  what 
they  see  in  a  good  type  design  is,  partly,  its  excellent 
practical  fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as  any 
good  tool  has.  Your  good  chair  has  all  of  its  parts  made 
nicely  to  the  right  size  to  do  exactly  the  work  that  the 
chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny" 
and  weak,  no  waste  of  material  and  no  lack  of  strength. 
And,  beyond  that,  the  chair  may  have  been  made  by  a 
man  who  worked  out  in  it  his  sense  of  fine  shapes  and 
curves  and  proportions:  it  may  be,  actually,  a  work  of 


8 


POINT 


AflBCDEFGHIJKLMNOPQRSTUVWXYZ(S       A{iBCDErGHIIKLMNOPQRSTUVWXYZ& 
aabcdeffghijklmnopqrstuvwxyz  1234567890       aabcdellghijklmnopqrstuvwxyz  1234567890 

($£,.:;-■?!.<  ..*t)        (S£,.:;-'?!.--f) 

lu-a  ,liffr-i,-nl  s,;,-s  ..(  l7vo-lrtl,-i    ■.mail  f  a  1^ s  aif  arailahlr.  as  aylias.  iit  Kn,aaa  U'illi   Italic 

ABCDEFGHIIKLMNOPQRSTUVWXYZi  ABCDEFGHIIKLMNOPQRSTUVWXYZS 

"SPECIAL  TWO-LETTER  5MALL  CAPS,  SPECIAL  NO     5 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&         ABCDEFGHIJKLMNOPQRSTUVWXYZi 


-  h,i,n,uali,n,     f-:./\4^ 

,.<ie  woi,i.  zi:kne. 


I.. 


IplKiliet. 


Fi 


,".^S.?: 


peritul  and  tliin  space,   .((. 


Kl 


rl   inae.l 


585 


<^ 


MEMPHIS  MEDIUM  with  ITALIC 


9 

POINT 


NINE    POINT 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  T 
FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  W 
How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  design 
is  always  practical  design.  And  what  they  see  in 
a  good  type  design  is,  partly,  its  excellent  practi- 
cal fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  exactly 
the  work  that  the  chair  has  to  do,  neither  clumsy 

(two  point 

AfiBCDEFGHIJKLMNOPQRSTUVWXYZ6r 
aabcdef  fghijklmnopqrstuvwxyz  1 234567890 

($£,.:;-'?!«..*t) 

T-u'O  different  sizes  .'/  l-.w-lettci  small  cafs  ar 
ABCDEFGHIJKLMNOPQRSTUVWXYZi 

SPECIAL  TWO-LETTER  SMA 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

Matrix  Information :  9A146.  Lower  case  alphabet.  121  points.   Figures, 
zine.  Code  word,  ZEPAK. 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  T 
FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  W 
How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  design 
is  always  practical  design.  And  what  they  see  in 
a  good  type  design  is,  partly,  its  excellent  practi- 
cal fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  exactly 
the  work  that  the  chair  has  to  do,  neither  clumsy 

leaded) 

ARBCDEFGHUKLMNOPQRSTUVWXYZ& 
aabcdef  fghijklmnopqrstuvwxyz  1 234567890 

f$£,.:;-'?/«..*t) 

<:  a-:'ailahle,  as  extias.  in  Roman  with  Italie 
ABCDEFGHI]KLMNOPQRSTUVWXYZ& 

LL  CAPS,  SPECIAL  NO    5 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

.0622;  comma,  period  and  thin  space.  .0311.  Runs  in  90  channel  maga- 


-(LINOTYPE    0- 


TEN   POINT 


10 

POINT 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE 
A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC 
How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design?  Why  do 
the  pace-makers  in  the  art  of  printing  rave 
over  a  specific  face  of  type?  What  do  they 
see  in  it?  Why  is  it  so  superlatively  pleasant 
to  their  eyes?  Good  design  is  always  practi- 
cal design.  And  what  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fit- 
ness to  perform  its  work.  It  has  a  "lieft"  and 
balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good  chair 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE 
A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC 
How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design?  Why  do 
the  pace-makers  in  the  art  of  printing  rave 
over  a  specific  face  of  type?  What  do  they 
see  in  it?  Why  is  it  so  superlatively  pleasant 
to  their  eyes?  Good  design  is  always  practi- 
cal design.  And  what  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fit- 
ness to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good  chair 


(two  point  leaded  I 

AflBCDEFGHIJKLMNOPQRSTUVWXYZ(5r     AfiBCDEFGHI]KLMNOPQRSTUVWXYZ& 
aabcdeffghijklmnopqrstuvwxyz  1234567890      aabcdeffghijklmnopgrstuvwxyz  1234567890 

($£,.:;-'?!«  »*t)      rS£,.;;-'?.'«>>*t; 

Two  different  jrfrc.v  of  two-!cttrr  small  caps  arc  available,  as  extras,  in  Roman  zvitlt  Italic 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&        ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

SPECIAL  TWO-LETTER  SMALL  CAPS,  SPECIAL  NO.  5 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&       ABCDEFGHI]KLMNOPQRSTUVWXYZ<S^ 

Matri.r  Information :  10A418.  l^ower  case  alphabet,  135  points.  Figures,  .0692;  comma,  period  and  thin  space.  .0346.  Runs  in  90  channel  maga- 
zine. Cude  word,  ZEKOC. 


586 


MEMPHIS  MEDIUM  with  ITALIC 


(three  point  leaded  i 


(tliree  point  leaded) 


AflBCDEFGHIJKLMNOPQRSTUVWXYZ& 

AfiBCDEFGHlJKLMNOPQBSTUVWXYZ& 

aabcdeffghijklmnopqrstuvwxyz  1234567890  ($£,.:;-'?! «»*t) 

aabcdeffghijklmnopqrstuvwxyz  1234567890  ('5£,.:;-'?/«>>*t/' 


Tvu  diffe 


iiall  caps 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHl]KLMNOPQRSTUVWXYZ& 


AL  TWO-LETTER   SMALL  i 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHI]KLMNOPQRSTUVWXYZ& 


Matii.r  Information:  I'lhi'M.  \j 
zine.  lode  word.  ZEKOJ. 


alpliabet.  167  points.   Figures.  ,O.SJ; 


miiia.  period  and  tin 


Kuns  in  "«i  ilianiiel 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF 
ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to 
their  eyes?  Good  design  is  always  practical  design.  And  what  they  see  in 
a  good  type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its 
work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the 
right  size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and 
thick,  nor  "skinny"  and  weak,  no  waste  of  material  and  no  lack  of  strength. 
And,  beyond  that,  the  chair  may  have  been  made  by  a  man  who  worked 
out  in  it  his  sense  of  fine  shapes  and  curves  and  proportions:  it  may  be, 
actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of  letters.  And  your 


® 


12 

POINT 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF 
ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to 
their  eyes?  Good  design  is  always  practical  design.  And  what  they  see  in 
a  good  type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its 
work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the 
right  size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and 
thick,  nor  "skinny"  and  weak,  no  waste  of  material  and  no  lack  of  strength. 
And,  beyond  that,  the  chair  may  have  been  made  by  a  man  who  worked 
out  in  it  his  sense  of  fine  shapes  and  curves  and  proportions:  it  may  be, 


587 


-^ 


MEMPHIS  MEDIUM  with  ITALIC 


POINT 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN 
14  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE- 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its 
esthetic  design?  Why  do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why 
is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is 
always  practical  design.  And  what  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fitness  to  perform  its 
work.  It  has  a  "heft" and  balance  in  all  of  its  parts  just  right  for 
its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts 
made  nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair 

I  jrnii    foitit  iraiird) 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN 
TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE- 
How  is  one  to  assess  and  evaluate  a  type  lace  in  terms  of  its 
esthetic  design?  Why  do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why 
is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is 
always  practical  design.  And  what  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fitness  to  perform  its 
work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for 
its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts 
made  nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair 

(four  point  leaded) 

AABCDEFGHIJKLMNOPQRSTUVWXYZ6c 

AnBCDEFGHIIKLMNOPQRSTUVWXYZ6r 

aabcdeffghijklmnopqrstuvwxyz  1234567890  ($£,.:;-'?! «»*t) 

aabcdeffghijklmnopqrstuvwxyz  1234567890  ($£,.:;-'?! «»*j:) 

Two  different  sises  of  two-letter  suiaH  caps  are  available,  as  extras,  in  Rntnan  7cith  Italic 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

SPECIAL  TWO-LETTEP   SMALL  CAPS,  SPECIAL  NO.  5 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

Matrix  Information:  14A2I2.  Lower  case  alpliabet,  197  points.  Figures.  .0968;  comma,  period  and  thin  space,  .IMX4.  Runs  in  90  channel  maga- 
zine. Code  word.  ZF.KOP. 


588 


MEMPHIS  MEDIUM  with  ITALIC 


Hl^ 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant 
to  their  eyes?  Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design  is,  partly,  its 
excellent  practical  fitness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good  chair  has  all  of 


■  fill  I  h-iidcd  I 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE 
How  is  one  to  assess  and  evaluate  a  type  iace  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in  the 
art  ot  printing  rave  over  a  specific  iace  oi  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant 
to  their  eyes?  Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design  is,  partly,  its 
excellent  practical  fitness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good  chair  has  all  of 

(ioin   f'lit  Irad.dl 

AABCDEFGHIJKLMNOPQRSTUVWXYZ& 
AfiBCDEFGHI}KLMNOPQRSTUVWXYZ& 

aabcdeffghijklmnopqrstuvwxyz  1234567890  ($,.:;-'?!«») 
aabcdeffghijklmnopqrstuvwxyz  1234567890  ($,.:;-'?!«») 


.i/i"»  ■  18A-'X.  l.ow.T  .aM'  ;di.li.il.i-l.  .'.tl   li. 


18 

POINT 

TWO- 
LETTER 


589 


^ 


MEMPHIS  MEDIUM  and  ITALIC 


EIGHTEEN   POINT 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE 
18 

POINT  How  is  one  to  assess  and  evaluate  a  type  face  in  terms 

of  its  esthetic  design?  Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant 
to  their  eyes?  Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design  is,  partly,  its 

1(11  /i.'iHf  li-aded  I 

AABCDEFGHIJKLMNOPQRSTUVWXYZ& 
aabcdeffghijklmnopqrstuvwxyz  12345678  ($£,.:;-'?!«»*t) 

SiiujII  (■(!/■(  a-;ulahU-  as  an  ,■  rl  i  a  Sf^rcial  No.  1> 

ABCDEFGHIJKLMNOPQRSTUV WXYZ&         (  G  k  t  y  ) 

Matrix  [nforniatjdn  :  18A379.  Lower  case  alphabet.  330  points.  Figures.  .1107.  Runs  in  90  channel  magazine.  Code  word.  ZENBO.  Also  avail- 
able in  two-letter  matrices  as  Memphis  Medium  with  Italic  (  18A28),  code  word,  ZEZUM;  and  as  Mennphis  Bold  with  Memphis 
Medium  (18A64),  code  word,  ZIKOB. 


-(LINOTYPE"  >> 


EIGHTEEN   POINT   ITALIC 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE 

18 

»oiNT  How  is  one  to  assess  and  evaluate  a  type  face  in  terms 

of  its  esthetic  design?  Why  do  the  pace-makers  in  the 
art  ot  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant 
to  their  eyes?  Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design  is,  partly,  its 


(six  point  leaded) 


AflBCDEFGHI}KLMNOPQRSTUVWXYZ& 
aabcdetfghijklmnopqrstuvwxyz  12345678  ($£,.:;-'?!<o>*f) 

Small  Caps  available  as  an  extra 

ABCDEFGHIJKLMNOPQRSTUVWXYZ<S- 

Matrix  Inlormalion:  I8A381.  Lower  case  alphaljel.  231  points.  Figures.  .1107.  Runs  in  9U  channel  magazine.  Code  word,  ZENCU.  Also  avail- 
able in  two-letter  matrices  as  Memphis  Medium  with  Italic  ( 18A28),  Code  word,  ZEZUM. 


589  a 


MEMPHIS  MEDIUM 


TWENTY-FOUR   POINT 


^ 


How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  type?  What 
do  they  see  in  it  1234567890  ($,.:;?!)  G  k  t  y 


24 

POINT 


(six  p.niil  /.■adetll  S fecial  ,V,'.  !i 


AflBCDEFGHIJKLMNOPQRSTU 

VWXYZ6c 
aabcdef  f  ghi  j  klmnopqrstuvwxy  z 

Matrix  Ini<n-maliiin:  24A3-t9.  I.nwer  case  alpliaht-t.  ^2(^  puiiits.  Fimire  1.  .1107:  3  to  n.  ir.r,  Run's  in  72  channel  inaKa/ine:  alsci  in  Wiile  .U  ilian- 
nel  auxiliary  niaua/ine.  Code  wurtl.  ZEZI.I  Also  available  in  two-letter  matrices  as  Memphis  Bold  with  Memphis  Medium  (24A64). 
Code  word,  ZILIB. 


-(LINOTYPE-    )- 


THIRTY    POINT 


How  is  one  to  assess  and  evaluate 
a  type  face  in  terms  of  its  esthetic 
design?  Why  do  the  pace-makers 
in  the  ar  1234567890($,.:;-'?!)Gkty 


30 

POINT 


(SIX  pLiln!   (taJi'd) 


special  No.  ;s 


AfiBCDEFGHIJKLMNOPQRST 

UVWXYZcSc 
aabcdef  f  ghi  j  klmnopqrstuvwxy  z 

Madix  Informatii'n     ,10A271.  I.nwer  case  alphabet.  380  points.  Fisure  I.  .12-1.=;:  2  to  n,     1<J.17.  Runs  in  Wide  72  channel  niasazine:  also  lower 
I  case  in  ca|)  channels  of  72  channel  niasazine  with  caps  and  figures  in  Wiile  M  cliannci  auxiliary  magazine.  Code  word.  ZEZMO. 


589  b 


H^ 


MEMPHIS  MEDIUM 


THIRTY-SIX    POINT 


36 

POINT 


How  is  one  to  evaluate  and 
assess  a  type  face  in  terms 
of  its  esthetic  design?  Why 
do  leaders  in  printing  rave 
over  specific  faces  of  type? 
What  do  they  see  in  them? 
Why  are  they  so  pleasant 
to  their  eyes?  Good  design 
will  ever  be  a  practical  de- 
sign. And  what  they  see  in 
tuvwxyz  1234567890  ($,.:;-?!) 

(four  point  leaded) 

AfiBCDEFGHIJKLMNO 

PQRSTUVWXYZ6c 
aabcdeffghijklmnopqrs 

Matrix  hilormatinti :  J6A169.  Lnwer  rase  alphabet.  47,1  points.  Figure  1,  .1S22;  2  to  0.  .2351.  Runs  m  Wide  34  channel  auxiliary  magazine;  also 
lower  case  in  cap  channels  of  Wide  72  channel  magazine.  Smallest  slug  on  which  this  face  will  cast  is  34  point.  Code  word.  ZILKO. 


590 


MEMPHIS  MEDIUM  and  ITALIC 


fl-P-L 


<^ 


72  Puiiil  (72A1072)  Lower  case  alphabet.  912  points.  Code  wc.rd,  ZIHEP 

Rug  storage  2 " 


60  Point   (60A1072)  Lower  case  alphalitt.  KOJ  points.  Coile  wc.rd.  ZIHFJ 


Open-top  shoes 
In  3  styles  for  $5 


60 


48  Point  (48A1072)  Lower  case  alphahet.  6.'^!  points.  Code  word.  ZIHEC 


Fine  fluffy  sw^eater 
In  size  38  for  only  a 


48 


48  Point   (48A1I)7.1)   [,<.wer  case  alidialiet.  O.iJ  p.iints.  Code  word.  ZIHID 


Sport  jacket  for  the 
Prep  in  large  sizes  4 


48 


36  Point  (36A107J)  Lower  case  alphabet.  476  points.  Code  word,  ZIHHU 


Superlative  sheers  in  pure  ^^ 
dye  silk;  lace-edged  at  3.95 


:4   r..nil    I J4AH173)   I.i.wer  case  alph.il.ct.  .ijl)  points.  Code  word.  ZIULl 


Basque  bodice  coat  in  black  with  prim   24 
pink  roses  and  a  touch  of  green,  $5.69 

A-P-L  range  in  Memphis  Medium  also  includes  18.  24.  30  and  36  point  sizes,  inclusive 

591 


H^ 


RANGE  of  SIZES  •  MEMPHIS  BOLD  with  ITALIC 


6  Pnint   (r.A.lfil)  I  nwer  case  nlph.Tliet,  f)?  pniiits    Fisnre";.  .0484 

HOW  IS  ONE  fo  assess  and  evaluate  a  type  iace  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of  pri  1234 
HOW  IS  ONE  (o  assess  and  evaluate  a  type  face  in  terms  ol  its  esthetic  design?  Why  do  (he  pace-makers  in  the  art  ol  pri  1234 

«  Pi. nil  (SA-i4,v:i  Lower  case  alphabet.  lOSpnints.  Figures.  .0^^3 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  lace  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  fhe  1234 

9  r'.iint    ('lAI4Xi  I  ..ucr  case  alplial.ct.   IJl   pcint-..   Ficures.  .()r,2: 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  iace  in  terms  of  its  esthetic  design?  Why  do  the  pace- 1234 

in  I'c.nit    nnA4i:'l  l.iwer  .  a^.-  .illili.J.el.   l.l.Tpniiits     Kii,Mires.  .0692 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  d  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  tace  in  terms  of  its  esthetic  design?  Why  d  1234 

\2  Pnint   (13A.188)  L.iwer  case  alphabet.  167  points.   Figures.  .083 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  oi  its  esthetic  1234 

14  Point   (MA-II6I  l...wer  case  alphabet.   197  points,   Fisrnres.    0968 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  oi  1234 

18  Point,    I  «o-l,ctler  (1SA201  1  . .«  er  .  ,lsc  alpbabi-t ,  2.11   points,   I'lmires,  ,1107 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  i  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  lace  i  1234 

18  Point,  One-Letter  (18A340)  Lower  case  alphabet.  2.10  points.   Figures.  .1107 

HOW  IS  one  to  assess  and  evaluate  a  type  face  in  1234 

24  Point  (24AJ0.1)  Lower  case  alphabet.  318  points.  Figure  1.  .1107:  2  to  0.  .166 

HOW  IS  one  to  assess  and  evalu  1234 

30  Ponit   (.iOA22.'^)  •  Lower  case  alphabet.  3S2  points.  Figure  1.  .1245:  2  to  0,  .1937 

HOW  IS  one  to  assess  and  e  1234 

36  Point   (36A12yi  Lower  case  alphabet,  473  points.   Figure  1,  ,1,522:  2  to  I),  .2351 

HOW  IS  one  to  asses  1234 


and  matrices  lor  the  A-P-L 
right  on  up  to  144  point 


-('°  LINOTYPE"  > 


42  48  b4  60  72 

MMMMM 

MMmm 


Memphis  Bold  Condensed  Series— See  Addenda 
592 


CHARACTER  SHOWING  •  MEMPHIS  BOLD 


^ 


LIST   OF    CHARACTERS   AVAILABLE    IN    TWO-LETTER    FONTS 

AflBCDEFGHIJKLMNOPQRSTUVWXYZ& 
AQBCDEFGHIJKLMNOPQRSTUVWXYZ& 

12345       aabcdeffghijklmnopqrstuvwxyz       67890 
12345       aabcdeifghijklmnopqrsiuvwxyz       67890 

$£..:;-'?!«»-— i^CEaeoe        .  .  .()*t*§1I[]@tb%  Va  1/4 %  1/2  Vs ¥4 ya 


SPECIAL   CHARACTERS 

SPECIAL    NO,    10  SPECIAL    NO,    lOA  SPECIAL    NO     1 

AJQ&     agt        ajq&  ajq&  Aaf  G  K  HI  11 UJ 

AJQ.81    agt        AJQ&  AJQ&  Pa/  €  K  fH  D  W 

Made  in  all  sizes  and  supplied  nn  special  m'der.  1  he  For  use  with  ^liecial  N<i.  .^  Made  in  all  sizes  and  Made  in  all  sizes  and 

small  caps  are  for  use  with  Two-Letter  Small  Laps  Two-],etter  Small  Caps  included  in  all  fonts       sujiplied  on  sipecial  order 

TWO-LETTER    SMALL    CAPS 

ABCDEFGHIJKLiyrNOPQRSTUVWXyZ&      ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

SPECIAL    NO     5    SMALL    CAPS 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&      ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

Twi>  differenl  sizes  of  Two-Letter  Small  Caps  are  available,  as  extras,  in  Rinnan  and  Italii 
ROMAN    AND     ITALIC    LOGOTYPES 

TaTeToTrTuTwTyVaVeVoWaWeWiWoWrYaYeYo 

Ta  Te  To  Tr  Tu  Tw  Ty  Va  Ve  Vo  Wa  We  Wi  Wo  Wr  Ya  Ye  Yo 

FA  PA  TA  VA  WA  YA  Th  Wh 

SPECIAL    NO,    1  SPECIAL    NO     10 

Ta  Va  Wa  Ya  Ta  Va  Wa  Ya 

Ta  Va  Wa  Ya  Ta  Va  Wa  Ya  FA  PA  TA  VA  WA  YA 


-(LINOTYPE     )- 


MEMPHIS  BOLD 

is  also  available  as  Excelsior  with  Memphis  Bold 
in  the  6,  7,  7V2,  8,  9,  10,  12  and  14  point  sizes 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&^OE 

abcdefghijklmnopqrstuvwxyzaeoefiflffffiffl  1234567890  $£,.:;-"?!-!—       .  .  .() 
abcdefghijklmnopqrstuvwxyzaecefmffftiftl  1234567890  $£..:;-"?!-|— . .  .        0 

*  tt§11  [lOlb  %  Va  Va  %  V2  Vs  %  % 


593 


SPECIMENS  SHOWING 

Memphis  BOLD 


LONGREEN  MANUFACTURERS 

KEYS  •  LOCKS  •  MISCELLANEOUS  HARDWARE 
Corner  of  Russel  and  16th  Street  •  Benderville  •  Maine 


AboTr:  Label,  ■set  in  10  and  14  pi>int  ^Telnl>Ilis  Ruld.  Rnles:   Plain  Rnle 
Matrix  Slides  -4  point  No.  4(J7,  2  point  No.  404  and  2  point  No.  405. 


ME 


^ 


HIS 


I       Brookfield 
^VWVVywJ      Downtown 

j"^  Meridan  Boys  Club 

MAGIC  SHOW 

Friday,  May  6th,  at  8  p.m.  The  Boys 
Club  will  present  their  fifth  annual 
performance  for  the  benefit  of  the 
Children's  Association.  Tickets  for 
adults,  50  cents;  children,  25  cents. 

IN  THE  SCHOOL  AUDITORIUM 

Above:  Small  display  card,  set  in  12  and  24  point  Memphis  Bold. 


COMPOSITION  SERVICE 

412  N.  10th  Street,  Cleveland,  Ohio 
Phone  Triangle  2468.  Popular  faces, 
twenty-four   hour   service.   Make-up. 

JOHN  MEMPHIS,  PRESIDENT 


Above:  Card,  set  in  10.  12  and  ^0 
point  Memphi';  Bold  wilh  Special 
T\vu-I,etter  Small  Caps. 


Right       AnnonmenienT,     set     in     10 
and   J4  point    Menii»Iiis    liold. 


THE 


TEXTBOOK 


OF  THE 


FUTURE 


A  seminar  will  be  held  during  the  second 
day  of  the  Convention  to  further  the  knowl- 
edge and  appreciation  of  bookmaking  and 
related  problems  among  all  concerned 
with  textbooks.  Competent  authorities  pres- 
ent will  discuss  the  problems  of  writers,  il- 
lustrators, editors,  publishers,  designers, 
and  educators.  There  Tvill  also  be  discus- 
sions of  materials,  processes,  and  tech- 
niques. Several  publishers  have  planned 
exhibits  to  supplement  the  discussions  and 
present  their  specialized  knoTvledge  in  the 
interests  of  The  Textbook  of  the  Future.  All 
interested  in  attending  this  seminar  are  re- 
quested to  register  sometime  before  Tues- 
day evening.  Announcements  of  the  meet- 
ing rooms  will  be  made  Wednesday,  dur- 
ing the  morning  and  afternoon  sessions. 


MEMPHIS  BOLD  with  ITALIC 


SIX    POINT 


% 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN 
TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MA 
Howr  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its 
esthetic  design?  Wfiy  do  the  pace-makers  in  the  art  of  print- 
ing rave  over  a  specific  face  of  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  lo  their  eyes?  Good  de 
sign  is  always  practical  design.  And  what  they  see  in  a  good 
type  design  is,  partly,  its  excellent  practical  fitness  to  per- 
form its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts 
just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair 
has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly 
the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick, 
nor  "skinny"  and  "weak,  no  waste  of  material  and  no  lack  of 
strength.  And,  beyond  that,  the  chair  may  have  been  made 
by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and 
curves  and  proportions:  it  may  be,  actually,  a  w^ork  of  art. 
The  same  thing  holds  for  shapes  of  letters.  And  your  chair, 
or  your  letter  (if  a  true  artist  made  it)  will  have,  besides  its 
good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or 
stamped  on  paper  and  read.  That  explains,  in  a  way,  why 

(/;('"  /•..! 

AflBCDEFGHIIKLMNOPQRSTUVWXYZ& 
aabcdeifghijklmnopqrstuvwxyz  1234567890  (S£,.:;-'?!«»*t) 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  /N 
TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE  MA 
How  is  one  to  assess  and  evaluate  a  type  lace  in  terms  of  its 
esthetic  design?  Why  do  the  pace-makers  in  the  art  o/  print 
ing  rave  over  a  specific  lace  of  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  de- 
sign is  always  practical  design.  And  what  they  see  in  a  good 
type  design  is,  partly,  its  excellent  practical  fitness  (o  per- 
form its  work.  /(  has  a  "hett"  and  balance  in  all  o/  its  parts 
just  right  tor  its  size,  as  any  good  tool  has.  Your  good  chair 
has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly 
the  vrork  that  the  chair  has  to  do,  neither  clumsy  and  thick, 
nor  "skinny"  and  v/eak,  no  ^vaste  of  material  and  no  lacic  of 
strength.  And,  beyond  that,  the  chair  may  have  been  made 
by  a  man  who  worked  out  in  it  his  sense  o/  fine  shapes  and 
curves  and  proportions:  it  may  be,  actually,  a  work  of  art. 
The  same  thing  holds  tor  shapes  ot  letters.  And  your  chair, 
or  your  letter  (il  a  true  artist  made  it)  will  have,  besides  its 
good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or 
stamped  on  paper  and  read.  That  explains,  in  a  way,  why 

1/   Iruih'Jl 


ARBCDEFGHIJKLMNOPQRSTUVWXYZS 
aabcdeltghijklmnopqrstuvwxyz  1234567890  ($£.. 


■•*tJ 


w  Jilh-irnl  .tirr.v  .<f  t-.vn- Irttri    snuill  ru/ii  or,-  ,i:;illiihlr.  as  ,-rti,is.   in   h'.niian  icllli   llnhi 

ABCDErGHlJKLMNOPQRSTUVWXYZ&  ABCDEraHIJKLMNOPQRSTUVWXYZSt 

SPECIAL  TWO-LETTER  SMALL  CAPS,  SPECIAL  HO     5 

ABCDEFGHIJKLMNOPQRSTUVWXYZ5  ABCDEFGHIIKLMNOPQRSTUVWXYZ& 


-   hitonnatioH  :  f>^M'A.    l-i>uer  case 
o.le  word.  ZlCKl'I. 


Iphaljct.  y?  points.    FiBiires.   .1)4X4; 


per 


ud   and   tlini 


>p. 


.(I-'/ 


'M)  channel  niaga- 


6 

POINT 


-(     LINOTYPE" ')- 


EIGHT    POINT 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FA 
IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  P 
Ho'w  is  one  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in  the  art 
of  printing  rave  over  a  specific  face  of  type?  What  do 
they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design.  And  what 
they  see  in  a  good  type  design  is,  partly,  its  excellent 
practical  fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as  any 
good  tool  has.  Your  good  chair  has  all  of  its  parts  made 
nicely  to  the  right  size  to  do  exactly  the  work  that  the 
chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny" 
and  weak,  no  waste  of  material  and  no  lack  of  strength. 
And,  beyond  that,  the  chair  may  have  been  made  by  a 
man  who  worked  out  in  it  his  sense  of  fine  shapes  and 
curves  and  proportions:  it  may  be,  actually,  a  work  of 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FA 
IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  P 
How  is  one  fo  assess  and  evaluate  a  type  face  in  terms 
o/  ifs  esthetic  design?  Why  do  the  pace-makers  in  the  art 
ol  printing  rave  over  a  speciiic  lace  of  type?  What  do 
they  see  in  if?  Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design.  And  what 
they  see  in  a  good  type  design  is,  partly,  its  excellent 
practical  litness  to  perlorm  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as  any 
good  tool  has.  Your  good  chair  has  all  of  its  parts  made 
nicely  to  the  right  size  to  do  exactly  the  work  that  the 
chair  has  to  do.  neither  clumsy  and  thick,  nor  "skinny" 
and  weak,  no  waste  of  material  and  no  lack  of  strength. 
And,  beyond  that,  the  chair  may  have  been  made  by  a 
man  who  worked  out  in  if  his  sense  of  fine  shapes  and 
curves  and  proportions:  it  may  be,  actually,  a  work  of 


8 


POINT 


pfliil  hadcdl 


AflBCDEFGHIIKLMNOPQRSTUVWXYZ6, 

aabcdeffghijklmnopqrstuvwxyz  1234567890 

($£,.:.--'?!«..'t) 

■/rc'  ,liffri;-nt    i-i.-,-.>  I'f  l7V-l,lti-i    .muuII  c,;,"! 
ABCDEFGHlJKLMNOPQRSTUVWXYZSc 

SPECIAL  TWO-LETTEP   Sf; 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 


Maliir  /lit.' 
/ine.  ( "iide  v 


iiHifi,',,     XA44S.    1.1 
ird.  ZAYO\-. 


sp  alpliahet.    IIL";  jj, 


A(iBCDEFGHnKLMNOPQRSTUVWXYZ& 
aabcdeffghijklmnopqrstuvwxyz  1234567890 
($£,.::-■?  !'<«'f) 

ir  a-:.;uloblr.  lis  i-xlias.   iu   h-.niiuit  -.i-llli   It.tti,- 
ABCDEFGHIJKLMNOPaRSTUVWXYZSc 

ML  CAPS,  SPECIAL  NO     5 

ABCDEraHlJKLMNOPQRSTUVWXYZS 


595 


-^ 


POINT 


MEMPHIS  BOLD  with  ITALIC 


NINE   POINT 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  T 
FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  W 
How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  design 
is  always  piactical  design.  And  what  they  see  in 
a  good  type  design  is,  partly,  its  excellent  practi- 
cal fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  exactly 
the  work  that  the  chair  has  to  do,  neither  clumsy 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  T 
FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  W 
How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  ifs  es<hefic  design?  Why  do  the  pace- 
makers in  the  ait  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  design 
is  always  practical  design.  And  what  they  see  in 
a  good  type  design  is.  partly,  its  excellent  practi- 
cal fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  exactly 
the  work  that  the  chair  has  to  do.  neither  clumsy 


AflBCDEFGHIIKLMNOPQRSTUVWXYZ<5r 
aabcdef  fghijklmnopqrstuvwxyz  1 234567890 

{$£..:,•-'?!..  ..'t) 

T-.f,'  diffeiiiit  sizfs  <'f  tvc-U-ttcr  small  cits  a 
ABCDEFGHIJKLMNOPQRSTUVWXYZi 

SPECIAL  TWO-LETTER  SM> 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 


AfiBCDEFGHIJKLMNOPQRSTUVWXYZ& 
aabcdef  fghijklmnopqrstuvwxyz  1234567890 
($£..;;-'?.'«..  "tJ 

yc  available .  as  r.rtius.  in  Ri'nian  7^'ith  Italic 
ABCDErGHIJKLMNOPQRSTUVWXYZi 

,LL  CAPS,  SPECIAL  NO    5 

ABCDEFGHIJKLMNOPQRST  VVWXYZ& 


Matrix  IniormatioH  :  9A1'*8.  Lower  case  alphabet,  121  points.  Figures.  .0622;  comma,  period  and  thin  space,  .0311.  Runs  in  90  channel  maga- 
2ine.  Code  word.  ZEPAR. 


-(     LINOTYPE'"- )- 


TEN   POINT 


10 

POINT 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE 
A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC 
How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design?  Why  do 
the  pace-makers  in  the  art  of  printing  rave 
over  a  specific  face  of  type?  What  do  they 
see  in  it?  Why  is  it  so  superlatively  pleasant 
to  their  eyes?  Good  design  is  always  practi- 
cal design.  And  what  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fit- 
ness to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good  chair 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE 
A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC 
How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design?  Why  do 
the  pace-makers  in  the  art  of  printing  rave 
over  a  specific  face  of  type?  What  do  they 
see  in  it?  Why  is  it  so  superlatively  pleasant 
to  their  eyes?  Good  design  is  always  practi- 
cal design.  And  what  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fit- 
ness to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good  chair 


AflBCDEFGHIJKLMNOPQRSTUVWXYZ6r     AflBCDEFGHIJKLMNOPQRSTUVWXYZ& 
aabcdef  fghijklmnopqrstuvwxyz  1234567890      aabcdeffghijklmnopqrstuvwxyz  1234567890 

($£..:;-'?!«»*t)      ($£,.::-'?!»»*  f) 

Two  diffcii-nt  sicrs  nj  twa-lettcr  small  caps  arc  az'ailabic,  as  c.vtras,  i)!  Roman  with  Italic 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&        ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

SPECIAL  TWO-LETTER  SMALL  CAPS,  SPECIAL  NO     5 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&        ABCDEFGHIJKLMNOPQRSTUVWXYZii 

Matrix  Injormation  :  10A412.  Lower  case  alphabet.  135  points.  Figures,  .0692;  comma,  period  and  thin  space.  .0J4fi.   Runs  in  90  channel  maga- 
zine. Code  word,  ZAYPA. 


596 


MEMPHIS  BOLD  with  ITALIC 


^ 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF 
ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  12 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  de-  po'^t 
sign?  Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to 
their  eyes?  Good  design  is  always  practical  design.  And  what  they  see  in 
a  good  type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its 
work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the 
right  size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and 
thick,  nor  "skinny"  and  weak,  no  waste  of  material  and  no  lack  of  strength. 
And,  beyond  that,  the  chair  may  have  been  made  by  a  man  who  worked 
out  in  it  his  sense  of  fine  shapes  and  curves  and  proportions:  it  may  be, 
actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of  letters.  And  your 

I  thirr  p.nnl  U-ndt-d  I 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF 
ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to 
their  eyes?  Good  design  is  always  practical  design.  And  what  they  see  in 
a  good  type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its 
work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the 
right  size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and 
thick,  nor  "skinny"  and  weak,  no  waste  of  material  and  no  lack  of  strength. 
And,  beyond  that,  the  chair  may  have  been  made  by  a  man  who  worked 
out  in  it  his  sense  of  fine  shapes  and  curves  and  proportions:  it  may  be, 

(three  1^,'inl  leaded) 

AfiBCDEFGHIJKLMNOPQRSTUVWXYZ& 
ARBCDEFGH1JKLMNOPQRSTUVWXYZ& 

aabcdeffghijklmnopqrstuvwxyz  1234567890  ($£,.:  ;-;?!«>>*t) 
aabcdeffghijklmnopqrstuvwxyz  1234567890  ($£,.::-'?l«»*f) 

'/?«'.'  diih'eul  M:es  'd  Ize^i'leltei   inmll  eats  aie  a-eailahir,  ,;  i  et-|lu^.  in  K'.'inan  leith  Italie 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQHST17VWXYZ& 

SPECIAL  TWO-LETTER  SMALL  CAP*:-,,  SPECIAL  WO.   5 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

Aralri.r  hif,;-mati,n,  '  12A.'?«R.  I.'iwer  lavc  ,,li.li.,l„-t.  1(,7  poitif^.  I'lKin.-s.  .llK.l:  i..,nni.i,  perin.l  an.l  tlun  sp.ue.  .(141?.  Rllu-i  in  "H  rli;iiin<-l  iiiaB.n- 
ziiie.  ((Mie  u,.nl.  ZAYRE. 


597 


% 


MEMPHIS  BOLD  with  ITALIC 


POINT 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN 
14  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE- 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its 
esthetic  design?  Why  do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why 
is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is 
always  practical  design.  And  what  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fitness  to  perform  its 
work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for 
its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts 
made  nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair 

I  t,n,r  f'lnt  leaded) 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN 
TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE- 
How  is  one  to  assess  and  evaluate  a  type  iace  in  terms  of  its 
esthetic  design?  Why  do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why 
is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is 
always  practical  design.  And  what  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fitness  to  perform  its 
work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for 
its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts 
made  nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair 

(four  point  leaded) 

AflBCDEFGHIJKLMNOPQRSTUVWXYZ& 

A^BCDEFGHIJKLMNOPQRSTUVWXYZiSr 

aabcdeffghijklmnopqrstuvwxyz  1234567890  ($£,.:;-'?!«>, *f) 

aabcdeffghiiklmnopqrstuvwxyz  1234567890  fi;£,.;;-'?/«»*t) 

luw  diffeient  sizes  of  two-letter  small  eafs  are  avuihlhle.  as  extras,  in  Roman  with  Italic 

ABCDEFGHIJKLiyiNOPQRSTUVWXYZ& 
AECDEFGHIJKLMNOPQRSTUVWXYZ& 

SPECIAL  TWO-LETTER  SMALL  CAPS,  SPECIAL  NO     5 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHlJKLMNOPqRSTl!VWXYZ6r 

Matrix  Information:  14A206.  Lower  case  ali>lial)et.  197  points.   Figures.  .0968;  comma,  period  and  thin  space.  .04S4.  Runs  in  90  channel  maga- 
zine. Code  word.  ZAYSI. 


598 


MEMPHIS  BOLD  with  ITALIC 


% 


TWO- 
LETTER 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  point 
of  its  esthetic  design?  Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant 
to  their  eyes?  Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design  is,  partly,  its 
excellent  practical  fitness  to  perform  its  work.  It  has  a 
"heff'and  balance  in  all  of  its  parts  just  right  for  its  size, 
as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts 


(tuiir  /mill*  U-advd) 


HOYf  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE 
How  is  one  to  assess  and  evaluate  a  type  iace  in  terms 
oi  its  esthetic  design?  Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specHic  iace  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant 
to  their  eyes?  Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design  is,  partly,  its 
excellent  practical  fitness  to  perform  its  work.  It  has  a 
"he{t"and  balance  in  all  of  its  parts  just  right  for  its  size, 
as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts 


(funr  point  1,-adcd) 


AflBCDEFGHIJKLMNOPQRSTUVWXYZ& 
ARBCDEFGHl]KLMNOPQRSWVVfXYZ& 

aabcdeffghijklmnopqrstuvwxyz  1234567890  ($,.:;-'?!«») 
aabcdeifghijklmnopqrstuvwxyz  1234567890  ($..:;■'?!««) 

Matrix  Injormatinn:  lSA-0.    Lower  case  alphaliet.  2M    points.    Figures.    ,1107.    Kims   in  'N)  iliannel  niatc.i?ine.   r,.(le  word.   ZEZID. 


599 


-^ 


MEMPHIS  BOLD 


18 

POINT 


24 

POINT 


EIGHTEEN   POINT 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant 
to  their  eyes?  Good  design  is  always  practical  design. 
And  what  they  see  in  a  1234567890($,.:;-'?!)GQ&f  kty 

lfau>-  Paint  U;,d,-d)  Sffcial  No.  15 

AflBCDEFGHIJKLMNOPQRSTUVWWXYZ(S; 
aabcdeffghijklmnopqrstuvwxyz 

Matrix  Information :  I8A349.  Lower  case  alphabet,  230  points.  Figures.  .U07.  Runs  in  90  cliaiiiiel  niaga/ine.  Smallest  slug  on  which  this  face 
will  cast  is  17  point.  Code  word,  ZAHRU.  Also  available  in  two-letter  matrices  as  Memphis  Light  with  Memphis  Bold  (18A16), 
code  word,  ZEZEP;  as  Memphis  Bold  with  Memphis  Light  (18  .48),  code  word,  ZIDPO;  as  Memphis  Bold  with  Memphis 
Medium  (  18^64),  code  word,  ZIKOB;  and  as  Memphis  Bold  with  Italic  (  18-20).  code  word,  ZEZID. 


-(p.c  LINOTYPE >^^)- 


TWENTY-FOUR    POINT 


HOW  IS  ONE  TO  ASSESS  AND  EVA 
How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superla- 
tively pi  1234567890($..:;-7!)GQ&f  kty 


(six  puint  Icudcd)  Sh-cial  No.15 


AflBCDEFGHIJKLMNOPQRSTUVW 
aabcdef  f  ghij  klmnopqrstuv  wxyz 

Matrix  hiWrmi'tion  .  24A303.  Lower  case  .iliili.iljet,  318  pc.iiits.  Figure  1.  .\\m  :  2  to  0,  .166.  Runs  in  72  channel  inaKa/ine.  Smallest  slug  on 
which  this  face  will  cast  is  22  point,  lode  Moid.  ZAVEC.  Also  available  in  two-letter  matrices  as  Memphis  Bold  with  Memphis  Light 
(24A48),  code  word,  ZIDSA;  and  as  Memphis  Bold  with  Memphis  Medium  (24A64),  code  word,  ZILIB. 


600 


MEMPHIS  BOLD 


THIRTY    POINT 


<J^ 


POINT 


How  is  one  to  assess  or  evaluate  30 

F 

a  type  face  in  terms  of  its  esthetic 
design?  Why  do  pace-makers  in 
the  1234567890  ($,.:;-'?!)  G  Q  &  f  k  t  y 

AflBCDEFGHIJKLMNOPQRST 

UVWXYZ 
aabcdef  f  ghi  j  klmnopqrstu  v  wxy  z 

Matiix  Iiifonnation  :  30A22S.  Lower  case  alplialiet.  3X2  pniiits.  Figure  1.  .I24>;  2  to  0.  .1937.  Runs  in  Wide  72  Lhannel  iiiaKazine;  also  lower 
case  in  cap  cliatmels  of  72  channel  magazine  with  caps  and  figures  in  Wide  34  cliannel  auxiliary  magazine.  Smallest  slug  on  which  this  face 
will  cast  is  28  point.  Code  word.  ZAYEP. 


-(      LINOTYPE-" )- 


THIRTY-SIX    POINT 


How  is  one  to  evaluate  and  % 

POINT 

assess  a  type  face  in  terms 
of  its  estheti  aabcdef  f  ghi jk 
Imnopqrstuvwxyz  ($,.:;-'?!) 


(six  [•(tint  lead.-di 


AflBCDEFGHIJKLMNO 
PQRSTUVWXYZ& 

Matrix  Information:  36A129.  Lower  case  alphabet.  473  points.  Fiiiure  1.  A^22:  2  tn  0.  .23^1.  Runs  in  Wide  34  channel  auxiliary  maKa/ine;  also 
lower  case  in  cap  channels  of  Wide  72  channel  magazine.  Smallest  slug  on  which  this  face  will  cast  is  34  point,  ("ode  word.  ZAYIIU. 


601 


% 


fl-P-L 


MEMPHIS  BOLD 


72  Point  (72A10.1S)  Lower  case  alphabet.  911  points.  Code  word.  ZAVON 


72 


Always  insist 
On  quality  27 


60  Point  (60A1038)  Lower  case  alphabet.  803  points.  Code  word.  ZAVOH 


60 


Sugar  plums  at 
All  times  for  the 


54  Point  (S4A10.381  Lower  case  alphabet.  736  points.  Code  word.  ZA\'OB 


54 


Exquisite  taste  is 
That  gives  you  34 


48  Point  (48A1038)  Lower  case  alphabet,  651   p(.ints.  Code  word.  ZAVNI 


48 


Satisfaction!  Many 
Fruits  of  different  $ 


42  Point  (42Ain3X)  Lower  case  alphabet.  571  points.  Code  word.  ZAVME 


'^  Climes  are  brought  to 
R  registered  dealer  of 

A-P-L  range  also  includes  6.  8. 10. 12. 14. 18.  24.  30  and  36  point  sizes,  inclusive 


MEMPHIS  BOLD 


fl-P-L 


^ 


144  Point  (144Aln3S)  I,ower  case  alphabet.  I'AWI  iiciiiils.  Cixlr  word,  ZECOV 


A  type 

120  Point  (I20A10JK)  Lower  case  alphabet.  1616  points.  Code  worii.  ZKCON 

Unit  of  2 


96  Point  (96A1038)  Lower  case  alphabet,  1332  points.  Code  word.  ZECOH 


Printing  is 
Has  larger 


96 


,X4  Point   (X4Ain3K)   Lower  case  alphabet,  liyf.  points.  C.ide  word.  ZECOB 


Possibly  to 
If  you  go  12 


84 


603 


RED 
DIAMOND 

TRUCKS 

Trucks  of  sturdy  mechanical 
construction  built  for  heavy 
duty,  without  the  sacrifice  of 
speed  and  economy.  Every 
truck  is  rigidly  inspected,  for 
the  future  of  Red  Diamond 
really  depends  upon  its  in- 
dividual performance.  See 
your  local  dealer  for  details. 

CHICAGO,  ILLINOIS 


1 
1 

ImI 

p 

1 

MEMPHIS  EXTRA  BOLD 

FROM     10    POINT    UP    TO   144    POINT 


0..»  LINOTYPE^ 


Top:  Advertisement,  set  in  10  point  Memphis  Extra 
Bold,  with  12,  30,  36  point  caps. 

Top  Right :  Price  display  advertisement,  set  in  18  and 
48  point  Memphis  Extra  Bold,  with  8  point  Memphis 
Bold  Caps. 

Right:  Small  display  card,  set  in  12  point  Metnphis 
Extra  Bold,  with  42,  36  and  18  point  caps.  Decoration: 
from  Linotype  rules  and  borders. 


DRUG 
SALE 


COLD  CREAM 
OLIVE  SOAP 
TOOTH  BRUSHES 
EPSOM  SALT 
PEROXIDE 
ASPIRIN 


LB.  JAR 


TWO  FOR 


TWO  LBS. 


FULL  PINT 


BOX  OF  100 


23c 
9c 

30e 
lie 

17c 

29c 


EXCURSION 
TO  BOSTON 


Boston,  the  cradle  off  history!  Plenty 
off  time  to  visit  places  off  historical  in- 
terest, beffore  your  return  trip.  Don't 
miss  seeing  the  old  State  House,  or 
Old  North  Church,  "T"  wharff. 


RANGE  of  SIZES  •  MEMPHIS  EXTRA  BOLD  with 


i^"^/J) 


K  r.iint   (SA'nr,)  I.,,wiT  r.-isf  .•Mi.h.Thft,   Ml   pr.iiiK    Fiu'iire'..    11761 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  ferms  of  its  esthetic  design?  Why  1234 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  oi  its  esthetic  1234 

i:  l'..iiit   i]:A-f'-'Xl  l.nwer  CMse  :ilpli;iliet.  201   ii..ints.   Kimires.  ,11117 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  o  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  o  1234 

14  I'omt    n4A-'MI  1  .iWfl-  ..ISC  alplKil).-!,   Jid  ,M, nils     I- mures,   .  11  (17 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  1 1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  iace  in  tI234 

18  Pdinf.  Tw..-l.ett,-r  (IRA'^I  I  .,«,■!   ,.i-c  .,l|.l,.,l„.l ,   :r,0  pmIiiIs.  Fisurc  1.  .11(17:  2  h,  0.  .1  IS! 

HOW  IS  ONE  to  assess  and  evaluate  a  ty  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  tYl234 

18  Point.  Olie-I.ctler    (lSA-1-s7)  I  ..«ci    ..is,-  .i!pli.ilii.|  ,  _'(,!  ponil-,     Fli;lll.-   1.   O'k.S;  J  In  0.  .l.l,s:? 

HOW  IS  one  to  assess  and  evaluate  a  type  1234 

24  Point  (24A.l.'.'l  Lower  case  aliiiial.i-t .    U,K  pmnts.   Figure  1,  .l.i.SJ;  _'  tn  U,  .\').i7 

HOW  IS  one  to  assess  and  ev  1234 

30  Point   (3nA377)  l.nvver  case  alphahet.  41S  pniiits.   Fignre  1,    UJ,;  2  to  0,  .J.'l.f 

HOW  IS  one  to  assess  an  1234 


-(LINOTYPE     >- 


LIST   OF    CHARACTERS   AVAILABLE    IN    TWO-LETTER    FONTS 

AflBCDEFGHIJKLMNOPQRSTUVWXYZA 
AnBCDEFGHIJKLMNOPQRSTUVWXYZS 

12345         aabcdeffghijklmnopqrstuvwxyz         67890 
12345         aabcdeifghijklmnopqrstuvwxyz         67890 

$£..:;-'?!«» JEOHeeas         .  .  .  {)*tt§11[]  @  »  %  Vb  %  Va  V2  Vs  Vi  Vs 

$£..::-'?!«» /ECExae  .  .  .  0*t*§11[]  @  »  %   Vb  V4  Vb  Vz  Vs  Va  Vs 


SPECIAL   CHARACTERS 

Aaf 
Ha/ 

SPFCIAL     NO     1 

GKmnuj 
GKianm 

SPECIAL     NO.     10 

A  JQ&agt 
AJO&agf 

Maile  in  all  si/es  ai 
imUidpil  in  all  font 

supplied  on  special  order 

M.hU-  in  all  si/,.s  :,„d 
supplied  nn  special  ordei 

Memphis  Extra  Bold  Condensed  Series — See  Addenda 


605 


^ 


MEMPHIS  EXTRA  BOLD  with  ITALIC 


EIGHT    POINT 


8 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE 
A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHET 
How  is  one  to  assess  and  evaluate  a  type 
POINT  face  in  terms  of  its  esthetic  design?  Why  do 
the  pace-makers  in  the  art  of  printing  rave 
over  a  specific  face  of  type?  What  do  they 
see  in  it?  Why  is  it  so  superlatively  pleas- 
ant to  their  eyes?  Good  design  is  alvrays 
practieai  design.  And  vrhat  they  see  in  a 
good  type  design  is,  partly,  its  excellent 
practical  fitness  to  perform  its  wrork.  It  has 
a  "heff'ond  balance  in  all  of  its  parts  just 
right  for  its  size,  as  any  good  tool  has.  Your 
good  chair  has  all  of  its  parts  made  nicely 
to  the  right  size  to  do  exactly  the  v\rork  that 
the  chair  has  to  do.  neither  clumsy  and 
thick,  nor  "skinny"  and  weak,  no  waste  of 
material  and  no  lack  of  strength.  And.  be- 
yond that,  the  chair  may  have  been  made 
by  a  man  who  iworked  out  in  it  his  sense  of 

(two  poi\ 

AABCDEFGHIJKLMNOPQRSTUVWXYZ<S 

aabcdeffghijklmnopqrstuvwxyz 

1234567890  ($£..:;-'?!«»*t) 

Matrix  Jtiformation :  8A50O.  Lower  case  alpliaitet,  141  points.   Figures.  .0761;  comn 
zine.  Code  word,  21FAS. 


HOW  IS  ONE  TO  aSSESS  RND  EVRLURTE 
R  TYPE  FRCE  IN  TERMS  OF  ITS  ESTHET 
How  is  one  to  assess  and  evaluate  a  type 
iaee  in  terms  ot  its  esthetic  design?  Why  do 
the  pace-makers  in  the  art  of  printing  rave 
over  a  specific  foce  of  type?  What  do  they 
see  in  it?  Why  is  it  so  superlatively  pleas- 
ant to  their  eyes?  Good  design  is  always 
practical  design.  Rnd  what  they  see  in  a 
good  type  design  is.  partly,  its  excellent 
practical  fitness  to  perform  its  virork.  It  has 
a  "hett"  and  balance  in  all  ot  its  parts  just 
right  tor  its  size,  as  any  good  tool  has.  Your 
good  chair  has  all  ot  its  parts  made  nicely 
to  the  right  size  to  do  exactly  the  virork  thot 
the  chair  has  to  do,  neither  clumsy  and 
thick,  nor  "skinny"  and  iveafc.  no  vraste  ot 
material  and  no  lack  ot  strength.  Rnd,  be- 
yond that,  the  chair  may  have  been  made 
by  a  man  ivho  vforked  out  in  if  his  sense  ol 

it  leaded) 

RaBCDEFGHIJKLMNOPQRSTUVWXYZS 
aabcdetfghijklntnopqrstuvwxyz 
1234567890  ($£..::-'?!«»* f) 

period  and  thin  space,  .038.   Runs  in  90  channel  maga- 


-(LINOTYPE"  >)- 


TEN   POINT 


10 

POINT 


HOW  IS  ONE  TO  ASSESS  AND  EVA 
A  TYPE  FACE  IN  TERMS  OF  ITS  ES 
How  is  one  to  ossess  and  evaluate  a 
type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  to 
their  eyes?  Good  design  Is  always 
practical  design.  And  what  they  see 
in  a  good  type  design  is,  partly,  its 
excellent  practical  fitness  to  per- 
form its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right 
for  its  size,  as  any  good  tool  has. 
Your  good  chair  has  all  of  its  parts 


HOW  IS  ONE  TO  ASSESS  RND  EVA 
A  TYPE  FACE  IN  TERMS  OF  ITS  ES 
How  is  one  to  assess  and  evaluate  a 
type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the 
art  oi  printing  rave  over  a  specific 
face  ol  type?  What  do  they  see  in  If? 
Why  is  it  so  superlatively  pleasant  to 
their  eyes?  Good  design  is  always 
practical  design.  And  vrhat  they  see 
in  a  good  type  design  is,  partly,  its 
excellent  practical  iitness  to  per- 
iorm  its  vrork.  It  has  a  "heit"  and 
balance  in  all  of  its  parts  just  right 
tor  its  size,  as  any  good  tool  has. 
Your  good  chair  has  all  oi  its  parts 


(three  faint  leaded) 


AABCDEFGHIJKLMNOPQRSTUVW 

aabcdeffghijklmnopqrstuvwxyz 

1234567890  ($£,.:;-'?!«»*t) 


AtlBCDEFGHIJKLMNOPQRSTVVW 
aahcdeifghijklntnopqrstuvMTxyz 
1234567890  ($£..;;-'?/«» *ti 


Matrix  Information:  10A444.  Lower  case  alphabet.  165  points.  Figures.  .0968;  comma,  period  and  tliin  space.  .U484.  Runs  in  90  channel  maga- 
zine. Code  word,  ZESKI. 


606 


MEMPHIS  EXTRA  BOLD  with  ITALIC 


I  time  point  li-adcdl 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN 
TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-M 
Hovir  is  one  to  assess  and  evaluate  a  type  lace  in  terms  of  its 
esthetic  design?  Why  do  the  pace-makers  in  the  art  of  print- 
ing rave  over  a  specific  face  of  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design 
is  always  practical  design.  And  vrhat  they  see  in  a  good  type 
design  is,  partly ^  its  excellent  practical  fitness  to  periorm  its 
urork.  If  has  a  "heit"  and  balance  in  all  of  its  parts  just  right 
tor  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  exactly  the  work  that 
the  chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny" 
and  vreak,  no  vraste  of  material  and  no  lack  of  sfrengfh.  And, 
beyond  that,  the  chair  may  have  been  made  by  a  man  virho 
■worked  out  in  it  his  sense  of  fine  shapes  and  curves  and  pro- 


I  lliii-r  p.'nil  l.adcd  I 


aabcdefghijklmnopqrstuvwxyza; 
arbcdefghijklmnopqrstuvwxyz& 

aabcdeffghijklmnopqrstuvwxyz  1234567890  ($£,.:;-'?!«» *t) 
aabcdelighilklmnopqrstuvwxyz  1234567890  f$£,.;;-'?/<«»*t) 


Matrix  Information  :  12A4S8.  Lnwer  case  alphabet.  JOI  pi.ints.  Figures.  .]1()7;  omiina.  i>erind  aiul  ihi 
zine.  Code  word.  ZESI^O. 


^ 


POINT 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN 
TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-M  12 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its 
esthetic  design?  Why  do  the  pace-makers  in  the  art  of  print- 
ing rave  over  a  specific  face  of  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design 
is  alvrays  practical  design.  And  what  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fitness  to  perform  its 
work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right 
for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  exactly  the  work  that 
the  chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny" 
and  weak,  no  waste  of  material  and  no  lack  of  strength.  And, 
beyond  that,  the  chair  may  have  been  made  by  a  man  who 
worked  out  in  it  his  sense  of  fine  shapes  and  curves  and  pro- 
portions: it  may  be,  actually,  a  vsrork  of  art.  The  same  thing 


607 


<^ 


MEMPHIS  EXTRA  BOLD  with  ITALIC 


POINT 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE 
14  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  D 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to 
their  eyes?  Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design  is,  partly,  its 
excellent  practical  fitness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good  chair  has  all  of 
its  parts  made  nicely  to  the  right  size  to  do  exactly  the 
work  that  the  chair  has  to  do,  neither  clumsy  and  thick, 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE 
FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  D 
Hovr  is  one  to  assess  and  evaluate  a  type  face  in  terms 
oi  its  esthetic  design?  Why  do  the  pace-xnakers  in  the 
art  oi  printing  rave  over  a  specific  face  oi  fype?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to 
their  eyes?  Good  design  is  always  practical  design. 
And  vrhat  they  see  in  a  good  type  design  is,  partly,  its 
excellent  practical  iitness  to  periorm  its  ivork.  If  has  a 
"heit"  and  balance  in  all  oi  its  parts  fust  right  for  its 
size,  as  any  good  tool  has.  Your  good  chair  has  all  oi 
its  parts  made  nicely  to  the  right  size  to  do  exactly  the 
vrork  that  the  chair  has  to  do,  neither  clumsy  and  thick. 


fvint  leaded  I 


AABCDEFGHIJKLMNOPQRSTUVWXYZdi 

AtkBCDEFGHIJKLMNOPQRSTUVWXYZS 

aabcdeffghijklmnopqrstuvwxyz  1234567  ($£,.:;-'?!«» *t) 

aabcdeifghiiklmnopqirstuvvrxyz  1234567  f$£,.:;-'?/«»*t) 

Matrix  Information :  14A2J4.  Lower  case  aljjhabet.  230  points.   Figures.  .1107;  comma,  period  and  thin  space.  .0553.   Runs  in  90  channel  maga- 
zine. Code  word.  2ESMU. 


608 


MEMPHIS  EXTRA  BOLD  with  ITALIC 


^ 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A 
How  is  one  to  assess  and  evaluate  a  type  face 
in  terms  of  its  esthetic  design?  Why  do  pace- 
makers in  the  art  of  printing  rave  over  a  spe- 
cific face  of  type?  What  do  they  see  in  it?  Why 
is  it  so  superlatively  pleasant  to  their  eyes? 
Good  design  is  always  practical  design.  And 
what  they  see  in  a  good  type  design  is«  partly, 
its  excellent  practical  fitness  to  do  its  work.  It 
has  a  "heft"  and  balance  in  all  of  its  parts  just 


(fon 


dour  foiiit  U-iidcd) 


AABCDEFGHIJKLMNOPQRSTUVWXYZ& 
RRBCDEFGHlJKLMHOPQRSTVVVrXYZS 

>      aabcdeffghijklmnopqrstuvwxyz  12  ($,.:;-'?!«») 
aabcdetighiiklmnopqrstnvwxyz  12  ($„::-'?!'<») 

I 

j  Matii.T   htj.niiiatiov   1SA52.    I.c.wer  case  alpli.Hhet.   2Wi  p.Miits,    FlKure   1.   .11117:  J  t..  ».   HH.^    I<""s  in   72  cliainicl   iiiaK.'i/ine  ;  also  l..«et    >ase  in 

I  cap  cliaiuiels  of  90  cllaiiiiel  iiiaKa/ipe  with  caps  and  tisures  in  ,14  channel  anxiliary  niaua/ine    Smallest  sUiK  nil   which   this   face  will  cast   is    17 

I'i  point,  ("ude  word.  Z1KA^^ 


18 

POINT 

TWO- 
LETTER 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A 
How  is  one  to  assess  and  evaluate  a  type  face 
in  terms  of  its  esfhefic  design?  Why  do  pace- 
makers in  the  art  of  printing  rave  over  a  spe- 
cific face  of  type?  What  do  they  see  in  it?  Why 
is  it  so  superlatively  pleasant  to  their  eyes? 
Good  design  is  always  practical  design.  And 
what  they  see  in  a  good  type  design  is,  partly, 
its  excellent  practical  iitness  to  do  its  work.  It 
has  a  "heif'and  balance  in  all  of  its  parts  just 


609 


® 


MEMPHIS  EXTRA  BOLD 


POINT 


EIGHTEEN    POINT 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A 
How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it 
so  superlatively  pleasant  to  their  eyes?  Good 
design  is  always  practical  1234567890  ($,.:;-'?!) 

(  !M-  f"'t  leaded  I 

AABCDEFGHIJKLMNOPQRSTUVWXYZ& 
aabedeffghijklmnopqrstuvwxyz 

Matrix  Information :  18A3S7.  Lower  case  alphabet.  264  points.  Figure  1.  .0968;  2  to  0.  .1383.  Runs  m  72  channel  magazine;  also  lower  case  in 
cap  channels  of  90  channel  magazine  with  caps  and  figures  in  ^A  channel  auxiliary  magazine.  Code  word.  ZAYKE.  Also  available  in  two- 
letter  matrices  as  Memphis  Extra  Bold  with  Italic  ( 18A52).  Code  word,  ZIFAY. 

(     LINOTYPE- -) 


24 

POINT 


TWENTY-FOUR    POINT 


HOW  IS  ONE  TO  ASSESS  AND  E 
How  is  one  to  assess  and  evaluate 
a  type  face  in  terms  of  its  esthetic 
design?  Why  do  the  pace-makers 
in  the  art  of  printing  rave  over  a 
specific  type  face?  What  do  they 
see  in  it?  Wh  1234567890  ($,.:;-'?!) 


(six  point  leaded) 


AABCDEFGHIJKLMNOPQRSTU 
aabedeffghijklmnopqrstuvwxyz 

Matrix  Information:  24A333.  Lower  case  alphabet.  368  points.  Figure  1,  .1383;  2  to  0,  .1937.  Runs  in  Wide  72  channel  magazine:  also  lower 
case  in  cap  channels  of  72  channel  magazine  with  caps  and  figures  in  Wide  34  channel  auxiliary  magazine.  Code  word.  ZEPYA. 


609  a 


MEMPHIS  EXTRA  BOLD 


<^ 


How  is  one  to  assess  and  eval- 
uate a  type  face  In  terms  of  its 
esthetic  design?  Why  do  pace- 
makers in  the  printing  art  rave 
over  any  specific  face  of  type? 
What  do  they  see  in  it?  Why  is 
it  so  superlatively  pleasant  to 
the  eyes?  Good  design  is  ever 
practical  design.  And  what  is 
seen  in  a  good  type  design  is, 
partly,  its  excellent  fitness  for 
its  wor  yz  1234567890  ($,.:;-'?!) 


30 

POINT 


(,vi.r  piiint  Iriuii-ii  I 


AABCDEFGHIJKLMNOPQR 

STUVWXYZ& 
aabcdeffghijklmnopqrstuvwx 

Matrix  Infoinwtion :  30A277.  Lower  case  alphalief.  415  points.  Figure  1.  .166:  2  to  0,  .2213.  Runs  in  Wide  72  channel  maKa/ine;  also  lower 
case  ill  cap  chaiuiels  of  72  channel  magazine  with  caps  and  figures  in  Wide  M  channel  anxiliarj-  niaga/ine.  Smallest  slug  on  which  this  face 
will  cast  is  28  point.  Code  won!.  ZITEK. 


609  b 


^ 


A-P-L 


MEMPHIS  EXTRA  BOLD 


610 


72  Point  (72A1()56)  T.ower  case  alphaliet.  1015  points.  Code  word.  ZERVE 


72 


How  Is  Type 
aabcdeffghi 


60  Point  (eOAlO.'ifi)  Lower  case  alphabet.  877  points.  Code  word.  ZERUR 


60 


How  Is  One  So 
aabcdeffghi  jk 


48  Point   (48Ain.=^fil   Lower  case  alpliahct.  717  points.  Code  word.  ZERUK 


48 


How  is  one  to  aab 
cdeflfghjklmoprst 


42  Point   (42A10.';6)  Lower  case  alphahet.  627  points.  Code  word.  ZERUD 


42 


How  can  one  assess 
and  evaluate  a  type 


Mi  Point   (36A1056)  Lower  case  alphaliet.  518  iioints.  Code  word.  ZEKTA 


36 


How  can  one  assess  and 
evaluate  faces  of  type  in 


A-P-L  range  also  includes  18,  24  and  30  point  sizes,  inclusive 


MEMPHIS  EXTRA  BOLD 


A-P-L 


—% 


144  Point   (I44AI056)   Lower  case  alplialiet.  :_>(.(,  points.  ( 'o.le  word.  ZERIH 


144 


120  Point  <120A1056)  Lower  case  alplialiet.  17(,S  ii.iinls    Code  w.iril,  ZRRIB 


120 


r..iiit    ('l6Al(l^f.l   Lower  case  alplialiet.  HsJ  points,  I 'ode  word.  ZEKHK 


Profits  in 
Display  1 


96 


611 


% 


RANGE  of  SIZES  •  MEMPHIS  LIGHT  with  BOLD 


6  Point  (6A322)  Lower  case  alpliahef.  97  points.  FiKures.  .n4R4 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of  pri  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  oi  its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of  pri  1234 

8  Point  I8A442I  Lower  case  alpliabet.  104  points.  Figures.  .0553 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  oi  its  esthetic  design?  Why  do  the  pace-makers  in  the  1234 

9  I'nmt   (9A14I1)  l,oucr  tase  alphaliet,  IJO  points.  Figures.  J«\22 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-  1234 

10  Point  (10A.W8I  Lower  case  alphabet.  133  points.  Figures.  .0692 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  1234 

12  Point   I12A.V6I  Li.ut-r  i.ise  Hlplial)i-t.  166  points.   Figure-.  .083 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  1234 

14  P.iint    (14,'.:ool  I. ..iwer  case  alphabet.   l')5p,,ints.   Figures.  .0968 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  1234 

18  Point  Menipliis  Light  «  illi  Mi-nii.liis  P.i.l.l.  Tu.i  letter   (ly,M61  Lower  case  alphabet.  JiJ  points.   Figures.  .1107 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  i  1234 


HOW  IS  ONE  to  assess  and  evaluate  a  type  face  i  1234 

18  Point  Memphis  P.ohl  willi  .\Ienilibis  Lighl.  'Iwo-Letter  (1.SA48)  Lower  case  alpliabet.  J.!2  points.  Figures.  .1107 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  i  1234 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  i  1234 

24  Point  Memiiliis  Bold  with  Memphis  Light.  'I' wc- Letter  (24A48)  Lower  case  alphaliet.  .316  points.  Figure  1.  .1107;  2  to  0,  .166 

HOW  IS  ONE  to  assess  and  evalua  1234 

HOW  IS  ONE  to  assess  and  evalua  1234 

(LINOTYPE     ) 


LIST   OF    CHARACTERS   AVAILABLE    IN    TWQ-LETTER    FONTS 

AflBCDEFGHIJKLMNOPORSTUVWXYZ& 

AflBCDEFGHIIKLMNOPQRSTUVWXYZ& 

12345         aabcdeffghijklmnopqrstuvwxyz         67890 

12345         aabcdeffghijklmnopqrstuvwxyz         67890 

$£,.:;-'?!«» ^CEaece 

$£,.:;-'?!«»-— ^CEaeoe.  . 


.{rnm]o:>\b%  ::  '/8'/4%i/2y8  3/4y8 
()*tt§ii[]@ib%  ::  V8VAV8V2VBy4Va 


SPECIAL   CHARACTERS 


SPECIAL    NO.    10 

AJQ&      agt  ajq& 

AJQ&      agt  AJQ& 

Made  in  all  sizes  and  suiiplied 
on  special  order 

TWO-LETTER    SMALL   CAPS 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

Made  in  all  si/es  and  supplied  on  sjiecial  order 


SPECIAL    NO.    1 

flat  GKmnm 

flaf  GHmnuj 


Made  in  all  sizes  and 
included  in  all  fonts 


Made  in  all  sizes  and  supplied 
on  special  order 


SPECIAL    NO.   10  LOGOTYPES 

Ta  Va  Wa  Ya  FA  PA  T A  VA  WA  YA 
Ta  Va  Wa  Ya  FA  PA  TA  V  A  W  A  YA 


TWO-LETTER    LOGOTYPES 

To  Te  To  Tr  Tu  Tw  Ty  Va  Ve  Vo  Wa  We  Wi  Wo  Wr  Ya  Ye  Yo 
Ta  Te  To  Tr  Tu  Tw  Ty  Va  Ve  Vo  Wa  We  Wi  Wo  Wr  Ya  Ye  Yo 

FA  PA  TA  VA  WA  YA 

FA  PA  TA  VA  WA  YA 


612 


MEMPHIS  LIGHT  with  BOLD 


^ 


SIX    POINT 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN 
TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MA 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its 
esthetic  design?  Why  do  the  pace-makers  in  the  art  of  print- 
ing rave  over  a  specific  face  of  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  de- 
sign is  always  practical  design.  And  what  they  see  in  a  good 
type  design  is,  partly,  its  excellent  practical  fitness  to  per- 
form its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts 
just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair 
has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly 
the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick, 
nor  "skinny"  and  weak,  no  waste  of  material  and  no  lack  of 
strength.  And,  beyond  that,  the  chair  may  have  been  made 
by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and 
curves  and  proportions:  it  may  be,  actually,  a  w^ork  of  art. 
The  same  thing  holds  for  shapes  of  letters.  And  your  chair, 
or  your  letter  (if  a  true  artist  made  it)  v^^ill  have,  besides  its 
good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or 
stamped  on  paper  and  read.  That  explains,  in  a  way,  why 
the  experts  rave  over  the  fine  shapes  of  letters;  but  it  fails  to 
explain  wherein  the  shapes  are  fine.  If  you  seek  to  go  further 
with  the  inguiry,  theories  will  be  your  only  answer.  Here  is 
a  theory  that  the  proponent  thinks  may  have  sense  in  it:  Fine 

f /7t','    /-(> 

AflBCDEFGHIJKLMNOPQRSTUVWXYZ& 
aabcdeffghijklmnopqrstuvwxyz  1234567890  ($£,.:;-'?!<...  *t) 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN 
TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE  MA 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its 
esthetic  design?  Why  do  the  pace-makers  in  the  art  of  print- 
ing rave  over  a  specific  face  of  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  de- 
sign is  alv/ays  practical  d-^sign.  And  v/hat  they  see  in  a  good 
type  design  is,  partly,  its  excellent  practical  fitness  to  per- 
form its  -work.  It  has  a  "heft"  and  balance  in  all  of  its  parts 
just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair 
has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly 
the  v^ork  that  the  chair  has  to  do,  neither  clumsy  and  thick, 
nor  "skinny"  and  iweak,  no  -waste  of  material  and  no  lack  of 
strength.  And,  beyond  that,  the  chair  may  have  been  made 
by  a  man  who  worked  out  in  it  his  sense  of  line  shapes  and 
curves  and  proportions:  it  may  be,  actually,  a  v/ork  of  art. 
The  same  thing  holds  for  shapes  of  letters.  And  your  chair, 
or  your  letter  (if  a  true  artist  made  it)  will  have,  besides  its 
good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or 
stamped  on  paper  and  read.  That  explains,  in  a  way,  why 
the  experts  rave  over  the  fine  shapes  of  letters;  but  it  fails  to 
explain  -wherein  the  shapes  are  fine.  If  you  seek  to  go  further 
with  the  inquiry,  theories  -will  be  your  only  ansv/er.  Here  is 
a  theory  that  the  proponent  thinks  may  have  sense  in  it:  Fine 
H/  traded) 

AflBCDEFGHlJKLMNOPQRSTUVWXYZi 
aabcdeffghijklmnopqrstuvwxyz  1234567890  (SE,.:;-'?!.<>.*t) 


I  m.^I.ctlcr  Small  Cal>s  arailahlf  as  an  rrlia 
ABCDEFGHIJKLMNOPQBSTUVWXYZS  ABCDEFGHIJKLMNOPQRSTUVWXYZ4 


POINT 


Matrix  InjorinatUin:  6A32 
zine.  Code  word.  ZATIF. 


Lower  case  alpliat)et.  97  points.   Figure.s.  .)M84; 


period  and  tli 


-(LINOTYPE"   )- 


EIGHT    POINT 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FA 
IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  P 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Wh-y  do  the  pace-makers  in  the  art 
of  printing  rave  over  a  specific  face  of  f-ype?  What  do 
they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design.  And  virhat 
they  see  in  a  good  type  design  is,  partly,  its  excellent 
practical  fitness  to  perform  its  -work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as  any 
good  tool  has.  Your  good  chair  has  all  of  its  parts  made 
nicely  to  the  right  size  to  do  exactly  the  -work  that  the 
chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny" 
and  -weak,  no  -waste  of  material  and  no  lack  of  strength. 
And,  beyond  that,  the  chair  may  have  been  made  by  a 
man  -viz-ho  -worked  out  in  it  his  sense  of  fine  shapes  and 
curves  and  proportions:  it  may  be,  actually,  a  work  of 
art.  The  same  thing  holds  for  shapes  of  letters.  And  your 

(two   />('!* 

AflBCDEFGHlJKLMNOP0RSTUVWXYZ& 

aabcdeffghijklmnopqrstuvwxyz  1234567890 

($£,.:;-■?!. »*t) 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FA 
IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  P 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in  the  art 
of  printing  rave  over  a  specific  face  of  type?  What  do 
they  see  in  if?  Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design.  And  what 
they  see  in  a  good  type  design  is,  partly,  its  excellent 
practical  fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as  any 
good  tool  has.  Your  good  chair  has  all  of  its  parts  made 
nicely  to  the  right  size  to  do  exactly  the  work  that  the 
chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny" 
and  weak,  no  waste  of  material  and  no  lack  of  strength. 
And,  beyond  that,  the  chair  may  have  been  made  by  a 
man  who  worked  out  in  it  his  sense  of  fine  shapes  and 
curves  and  proportions:  it  may  be,  actually,  a  work  of 
art.  The  same  thing  holds  for  shapes  of  letters.  And  your 

/  U-adcd) 

AflBCDEFGHIIKLMNOPQRSTUVWXYZ& 
aabcdeffghijklmnopgrstuvwxyz  1 234567890 

($£,.:;-■?!,<  ..-t) 


Tu','- Letter  Small  TuZ-.t  available  as  an  extra 
ABCDEFGH1IKLMNOPQRSTUVWXYZ6  ABCDEFGHIJKLMNOPQRSTUVWXYZd 


8 


POINT 


Matrix  Information:  8A442.  L<iwer  tase  alphabet,  1U4  points.   Figures, 
zine.  Code  word.  ZAHJO. 


periiid  and  thin  space.   .l)J77.    Runs  In  90  channel   maga- 


613 


^ 


MEMPHIS  LIGHT  with  BOLD 


POINT 


NINE    POINT 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  T 
FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  W 
How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  design 
is  always  practical  design.  And  what  they  see  in 
a  good  type  design  is,  partly,  its  excellent  practi- 
cal fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  exactly 
the  work  that  the  chair  has  to  do,  neither  clumsy 
and  thick,  nor  "skinny"  and  weak,  no  waste  of 
material  and  no  lack  of  strength.  And,  beyond 
that,  the  chair  may  have  been  made  by  a  man 

(two  poi\ 

AflBCDEFGHIJKLMNOPORSTUVWXYZ& 
aabcdef  fghij  klmnopqrstuvwxyz  1 234567890 

($£,.:,-■?!  «»*t) 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  T 
FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  W 
Ho'w  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  design 
is  always  practical  design.  And  what  they  see  in 
a  good  type  design  is,  partly,  its  excellent  practi- 
cal fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  exactly 
the  work  that  the  chair  has  to  do,  neither  clumsy 
and  thick,  nor  "skinny"  and  weak,  no  waste  of 
material  and  no  lack  of  strength.  And,  beyond 
that,  the  chair  may  have  been  made  by  a  man 

'  leaded) 

AaBCDEFGHIJKLMNOPQRSTUVWXYZ6, 
aabcdef  fghijklmnopqrstuvwxyz  1 234567890 
($£,.:;-'?!«»  *t) 


Matrix  Information  :  9A140.  Lower  case  alphabet.  I2U  points.    Figures.  .0632;  coinnia,  peril 
zine.  t'ode  word,  ZECZE. 


pate.   .UJll.   Runs  in  9U  channel   maga- 


-('■°  LINOTYPE  ■->- 


TEN    POINT 


10 

POINT 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE 
A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC 
How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design?  Why  do 
the  pace-makers  in  the  art  of  printing  rave 
over  a  specific  face  of  type?  What  do  tney 
see  in  it?  Why  is  it  so  superlatively  pleasant 
to  their  eyes?  Good  design  is  always  practi- 
cal design.  And  what  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fit- 
ness to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size, 
as  any  good  tool  has.  Your  good  chair  has  all 
of  its  parts  made  nicely  to  the  right  size  to  do 
exactly  the  work  that  the  chair  has  to  do. 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE 
A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC 
How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design?  Why  do 
the  pace-makers  in  the  art  of  printing  rave 
over  a  specific  face  of  type?  What  do  they 
see  in  it?  Why  is  it  so  superlatively  pleasant 
to  their  eyes?  Good  design  is  always  practi- 
cal design.  And  v^hat  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fit- 
ness to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size, 
as  any  good  tool  has.  Your  good  chair  has  all 
of  its  parts  made  nicely  to  the  right  size  to  do 
exactly  the  work  that  the  chair  has  to  do. 


(tivo  pobit  !iiuird ) 


AflBCDEFGHIJKLMNOP0RSTUVWXYZ& 
aabcdeffghijklmnopqrstuvwxyz  1 234567890 

($£,.:;-'?!  «»*t) 

l  wii-Lcttcr  Small  (^aps 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 


AflBCDEFGHIJKLMNOPQRSTUVWXYZ& 
aabcdeffghijklmnopqrstuvwxyz  1 234567890 
($£..:;-'?!«»*t) 

,i-'ailahlc  i/.(  an  extra 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 


Matrix  Information:  10A398.  l.c 
zine.  Code  word.  ZAHKU. 


se  alpliabet.  133  points.   Figures.  .069J; 


od  and  tlliii  space.   .0346.   Runs  in  yu  channel  maga- 


614 


MEMPHIS  LIGHT  with  BOLD 


<© 


POINT 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF 
ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  12 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to 
their  eyes?  Good  design  is  always  practical  design.  And  what  they  see  in 
a  good  type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its 
work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the 
right  size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and 
thick,  nor  "skinny"  and  weak,  no  waste  of  material  and  no  lack  of  strength. 
And,  beyond  that,  the  chair  may  have  been  made  by  a  man  who  worked 
out  in  it  his  sense  of  fine  shapes  and  curves  and  proportions:  it  may  be, 
actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of  letters.  And  your 

I  tin,  ,    f'i'il   Ira.lrdl 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF 
ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to 
their  eyes?  Good  design  is  always  practical  design.  And  what  they  see  in 
a  good  type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its 
work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the 
right  size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and 
thick,  nor  "skinny"  and  weak,  no  waste  of  material  and  no  lack  of  strength. 
And,  beyond  that,  the  chair  may  have  been  made  by  a  man  who  worked 
out  in  it  his  sense  of  fine  shapes  and  curves  and  proportions:  it  may  be, 
actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of  letters.  And  your 

Ithr,,-  f'nnt  leaded  i 

AflBCDEFGHIJKLMNOP0RSTUVWXYZ& 

AftBCDEFGHIJKLMNOPQRSTUVWXYZ& 
aabcdeffghijklmnopqrstuvwxyz  1234567890  ($£,.:;-'?!  «»*t) 
aabcdeffghijklmnopqrstuvwxyz  1234567890  ($£..:;-'?!«»  *t) 

r-.fe-l  etiri    Small  Cafs  „-.;nl„hh-  us  an  .   vli.i 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

Matrt.r  hiti)iiiialiu}i  :  12A'7'>.  l.nw.-i  ,  .im'  .iIiiIi;iIicI  .  ll,i.  p,.iuls,  l-iKUrc!,.  .llS.i;  i..nini.i.  |.cn..il  .md  linn  -iNne,  .11415,  Rims  in  'III  .lliinnd  iii^iK.T- 
/ilif.  I  (..1.-  w.,rti.  ZAHI.A. 


615 


% 


MEMPHIS  LIGHT  with  BOLD 


POINT 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN 
14  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE- 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its 
esthetic  design?  Why  do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why 
is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is 
always  practical  design.  And  what  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fitness  to  perform  its 
work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for 
its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts 
made  nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair 
has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no 

(four  point  leaded) 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN 
TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE- 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its 
esthetic  design?  Why  do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why 
is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is 
always  practical  design.  And  what  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fitness  to  perform  its 
work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for 
its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts 
made  nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair 
has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no 

(four  poi)it  leaded) 

AABCDEFGHIJKLMNOPQRSTUVWXYZ& 
AflBCDEFGHIJKLMNOPQRSTUVWXYZ6r 

aabcdeffghijklmnopgrstuvwxyz  1234567890  ($£,.:;-'?! «»*t) 
aabcdeffghijklmnopqrstuvwxyz  1234567890  ($£,.:;-'?!«» *t) 

7  7vo-Lettc)  Small  Caps  available  as  a>i  cvlia  Sprelal  N,k  1} 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&         G  Q  &  f  k  t  y 
ABCDEFGHIJKLMNOPQRSTUVWXYZ«i         G  Q  &  f  k  t  y 

Matrix  Information  :  14A-0(l.  Lower  case  alphahet,  195  points.  Figures,  .0968;  comma,  period  and  tliin  spate.  .0484.  Runs  in  90  channel  maga- 
zine. Code  word.  ZAHME. 


616 


MEMPHIS  LIGHT  with  BOLD 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant 
to  their  eyes?  Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design  is,  partly,  its 
excellent  practical  fitness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good  chair  has  all  of 

I  ton,    Pi, ml   Irail.Jj 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant 
to  their  eyes?  Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design  is,  partly,  its 
excellent  practical  fitness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good  chair  has  all  of 

(four  foilil  h-ilj,-dl 

AflBCDEFGHIJKLMNOPORSTUVWXYZ& 
AflBCDEFGHIJKLMNOPQRSTUVWXYZ& 

aabcdeffghijklmnopqrstuvwxyz  1234567890  ($,.:;-'?!«») 
aabcdeffghijklmnopqrstuvwxyz  1234567890  ($,.:;-'?!«») 

Matiir  Inlinmatinn  IXAl'^-  I."wci  liisc  .illili.ibct ,  2M  pc.inis,  Fimires,  .1107.  Riin";  in  in  chainiel  iii;ii;;i'inc.  Sni;iI1evt  >shiK  (in  wliirh  tlii*  i.-ui- 
will  1..1S1  is  II.  pi.iiit.  I'nde  wonl,  ZKZKIV  Also  available  in  two-letter  matrices  as  Memphis  Bold  with  Memphis  Light  (  18  48t.  Code 
word,  ZIDPO. 


® 


18 

POINT 

TWO- 
LETTER 


617 


^ 


MEMPHIS  BOLD  with  LIGHT 


TWO- 
LETTE 


EIGHTEEN    POINT 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms 
POINT  of  its  esthetic  design?  Why  do  the  pace-makers  in  the 
J,  art  of  printing  rave  over  a  specific  face  of  type?  What 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  of  type?  What 

(fnui-  point  leaded  I 

AflBCDEFGHIJKLMNOPQRSTUVWXYZ& 

AflBCDEFGHI  JKLMNOPORSTU  VWX  YZ6, 
aabcdeffghijklmnopqrstuvwxyz  1234567890  ($,.:;-'?!«») 

aabcdeffghijklmnopqrstuvwxyz  1234567890  ($,.:;-'?!«») 

Matrix  Iiilaniiatuiii  :  I8A-)«.  Lower  case  alphabet.  232  puiiits.  FiRures.  .1107.  Runs  in  90  channel  magazine.  Smallest  slug  on  which  this  face 
will  cast  is  16  point  Code  wuid.  ZIDPO.  Also  available  in  two-letter  matrices  as  Memphis  Light  with  Memphis  Bold  (18A16).  Code 
word,  ZEZEP. 


-(""LINDTYPE""> 


TWENTY-FOUR    POINT 


POINT 

TWO- 
LETTER 


24   How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  1234567890  ($..:;-7!«») 

How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-make  1234567890  ($.:;-7!«») 


(six  point  leaded) 


AflBCDEFGHIJKLMNOPQRSTUVW 

AABCDEFGHIIKLMNOPORSTUVW 

aabcdef  f  ghi  j  klmnopqrstu  v  wxy  z 

aabcdef  f  ghij  klmnopqrstu  vwxyz 

Matrix  [^formation  :  _MA48.  Lower  case  alphabet.  316  points.  Figure  1.  .1107;  2  to  0.  .166.  Runs  in  72  channel  magazine.  Smallest  slug  on  which 
this  face  will  cast  is  22  point.  Code  word,  ZIDSA. 


618 


SPECIMENS 
of  MEMPHIS 

LIGHT  and  BOLD 


usuco  mmm  union 

STflNDEN     COMPANY 

NEW    HORMEL,    ILLINOIS 

GEORGE    H.    BASKELL 


ON  «TIME»  If  Time  be  of  all 
things  the  most  precious,  wasting  Time 
must  be  the  greatest  prodigality,  since  lost 
Time  is  never  found  again;  and  what  we 
call  Time  enough  always  proves  little 
enough.  Let  us  then  up  and  be  doing,  and 
doing  to  the  purpose;  so  by  diligence  shall 
we  do  more  with  less  perplexity.  Sloth 
makes  all  things  difficult,  but  Industry  all 
easy;  and  he  that  riseth  late  must  trot  all 
day,  and  shall  scarce  overtake  his  busi- 
ness at  night;  while  Laziness  travels  so 
slowly,  that  Poverty  soon  overtakes  him.  .  . 
— Benjamin  Franklin 


PRINTERS 


HIO  PRESS 

CHARLI   at   ELM 


flSSURflNCE. 
OF  QUALITY 
IN  MILK  FOR 
H.R.H.  "BABY" 


For  over  a  century,  the  health  needs  of  babies  have 
determined  Star  Milk  Standards.  They  still  come  first 
today.  Because  it  gives  full  protection,  thousands  have 
STAR  delivered  to  their  doors,  daily.  Always  insist  on 

STAR  "COUNTRY  FRESH"  MILK 


^ 


RANGE  of  SIZES  •  MEMPHIS  MEDIUM  with  BOLD 


6  Point   (CA'llfi)  Lower  case  alplialiet.  17  points.  FiKlires,  .04X4 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of  pri  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of  pri  1234 

8  T'oint    (SA4XM  I^ower  case  alulialiet.  104  points.  Figures. .0553 

HOW  IS  ONE  to  assess  and  evaluate  a  type  lace  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  iace  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  1234 

Id  point    110^4  =  4)  I,o«ei   CISC  .ili.haliel.  1-54  i)oints,   FiKuies.  .069J 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  d  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  d  1234 

12  I'omt   {IJA4'.(il  l,.,uei-  case  aliili.iliet.  Id/  i.iiints.   Fimires.  .08J 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  1234 

14   I'. lint    ()4Z',J4(ii  l.invci   case  alplialiet.  V>7  points.   Fii;iires.  .Cl')68 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  1234 

IX  I'oiiit  Memphis  Hold  with  Menipliis  Medinin.  Two-I.etter  (18Afi4l  Lower  ease  alphabet.  .'.10  points.  Figures,  .1107 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  i  1234 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  i  1234 

J4  Toiiit  .Mempliis  Uol.l  with  .Memphis  Meiiuim,   1  wo-l,elter   i.MAi.4)  Lower  ease  alph.ihet.  .ilx  points.  Fiaiire  1.  .111)7;  2  to  0.  .166 

HOW  IS  ONE  to  assess  and  evalua  1234 

HOW  IS  ONE  to  assess  and  evalua  1234 

_ (LINOTYPE"   ) 

LIST   OF    CHARACTERS   AVAILABLE    IN    TWO-LETTER    FONTS 

AABCDEFGHIJKLMNOPQRSTUVWXYZ& 
AfiBCDEFGHIlKLMNOPQRSTUVWXYZ& 

12345       aabcdeffghijklmnopqrstuvwxyz       67890 
12345       aabcdeffghijklmnopqrstuvwxyz       67890 

$£..:;-'?!«»-— ^CEaeoe       .  .  .()*tM[](^lb% 
$£,.:;-'?!«»-i— i^CEaece.  .  .       ()*t$§1I[]@lb% 

1/8^4  3/8^2  5/8  3/4% 


SPECIAL 

CHARACTERS 

fiaf 
flat 

Made  in  all  sizes  and 
included  in  all  fonts 

SPECIAL 

NO     1 

eKmnm 
CKmnm 

Made  iii  all  sizes  and  supplied 
on  special  order 

TWO-LETTER    LOGOTYPES 

TaTeToVaVeVoWaWeWiWoWrYaYeYo 
TaTeToVaVeVoWaWeWiWoWrYaYeYo 


620 


MEMPHIS  MEDIUM  with  BOLD 


^ 


SIX    POINT 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN 
TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MA 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its 
esthetic  design?  Why  do  the  pace-makers  in  the  art  of  print- 
ing rave  over  a  specific  face  of  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  de- 
sign is  always  practical  design.  And  what  they  see  in  a  good 
type  design  is,  partly,  its  excellent  practical  fitness  to  per- 
form its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts 
just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair 
has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly 
the  Tvork  that  the  chair  has  to  do,  neither  clumsy  and  thick, 
nor  "skinny"  and  weak,  no  waste  of  material  and  no  lack  of 
strength.  And,  beyond  that,  the  chair  may  have  been  made 
by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and 
curves  and  proportions:  it  may  be.  actually,  a  work  of  art. 
The  same  thing  holds  for  shapes  of  letters.  And  your  chair, 
or  your  letter  (if  a  true  artist  made  it)  will  have,  besides  its 
good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or 
stamped  on  paper  and  read.  That  explains,  in  a  way,  why 
the  experts  rave  over  the  fine  shapes  of  letters;  but  it  fails  to 
explain  wherein  the  shapes  are  fine.  If  you  seek  to  go  further 
lA'ith  the  inquiry,  theories  will  be  your  only  answer.  Here  is 
a  theory  that  the  proponent  thinks  may  have  sense  in  it:  Fine 
type  letters  were,  in  the  first  place,  copies  of  fine  written  let- 
ters. Fine   \vritten  letters  were   fine   because  they  "were  pro- 

(  IWO   fU, 

AflBCDEFGHIJKLMNOPQRSTUVWXYZ& 
aabcdeffghijklmnopqrstuvwxyz  1234567890  ($£,.:;-'?!«»'t) 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN 
TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE  MA 
Hov^  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its 
esthetic  design?  Why  do  the  pace-makers  in  the  art  of  print- 
ing rave  over  a  specific  face  of  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  de- 
sign is  always  practical  design.  And  what  they  see  in  a  good 
type  design  is,  partly,  its  excellent  practical  fitness  to  per- 
form its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts 
just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair 
has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly 
the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick, 
nor  "skinny"  and  ^weak,  no  lAraste  of  material  and  no  lack  of 
strength.  And,  beyond  that,  the  chair  may  have  been  made 
by  a  man  v/ho  w^orked  out  in  it  his  sense  of  fine  shapes  and 
curves  and  proportions:  it  may  be,  actually,  a  work  of  art. 
The  same  thing  holds  for  shapes  of  letters.  And  your  chair, 
or  your  letter  (if  a  true  artist  made  it)  will  have,  besides  its 
good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or 
stamped  on  paper  and  read.  That  explains,  in  a  ■way,  -why 
the  experts  rave  over  the  fine  shapes  of  letters;  but  it  fails  to 
explain  ■wherein  the  shapes  are  fine.  If  you  seek  to  go  further 
with  the  inguiry,  theories  ■will  be  your  only  ans^wer.  Here  is 
a  theory  that  the  proponent  thinks  may  have  sense  in  it:  Fine 
type  letters  wrere,  in  the  first  place,  copies  of  fine  v/ritten  let- 
ters. Fine  iwritten  letters  v/eie  fine  because  they  ■were  pro- 
',U  Iciul.-di 

AflBCDEFGHIJKLMNOPQRSTUVWXYZd 
aabcdeffghijklmnopqrstuvwxyz  1234567890  ($£,.:;-'?!<.»*t) 


POINT 


Matrix  Information     f>A-116.  Lower 
/ine.  Code  word.  ZI(  KA. 


se  aliili:ilift. 


points.    Figures.   .0484; 


period  and  thin  space. 


Kutis   111   ''0  chaiiiiel 


-i      LINOTYPE'    > 


EIGHT    POINT 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FA 
IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  P 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in  the  art 
of  printing  rave  over  a  specific  face  of  type?  What  do 
they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design.  And  ■what 
they  see  in  a  good  type  design  is,  partly,  its  excellent 
practical  fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as  any 
good  tool  has.  Your  good  chair  has  all  of  its  parts  made 
nicely  to  the  right  size  to  do  exactly  the  work  that  the 
chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny" 
and  weak,  no  waste  of  material  and  no  lack  of  strength. 
And,  beyond  that,  the  chair  may  have  been  made  by  a 
man  who  worked  out  in  it  his  sense  of  fine  shapes  and 
curves  and  proportions:  it  may  be,  actually,  a  work  of 
art.  The  same  thing  holds  for  shapes  of  letters.  And  your 
chair,  or  your  letter  (if  a  true  artist  made  it)  will  have,  be- 
sides its  good  looks,  a  suitability  to  the  nth  degree  to  be 
sat  in,  or  stamped  on  paper  and  read.  That  explains,  in 

(tm.  fn 

AflBCDEFGHIIKLMNOPQRSTUVWXYZ& 
aabcdeffghijklmnopqrstuvwxyz   1 234567890 

($£,.:;-'?!. ..-t) 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FA 
IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  P 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in  the  art 
of  printing  rave  over  a  specific  face  of  type?  What  do 
they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design.  And  what 
they  see  in  a  good  type  design  is.  partly,  its  excellent 
practical  fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as  any 
good  tool  has.  Your  good  chair  has  all  of  its  parts  made 
nicely  to  the  right  size  to  do  exactly  the  work  that  the 
chair  has  to  do.  neither  clumsy  and  thick,  nor  "skinny" 
and  weak,  no  waste  of  material  and  no  lack  of  strength. 
And.  beyond  that,  the  chair  may  have  been  made  by  a 
man  who  worked  out  in  it  his  sense  of  fine  shapes  and 
curves  and  proportions:  it  may  be,  actually,  a  work  of 
art.  The  same  thing  holds  for  shapes  of  letters.  And  your 
chair,  or  your  letter  (if  a  true  artist  made  it)  will  have,  be- 
sides its  good  looks,  a  suitability  to  the  nth  degree  to  be 
sat  in,  or  stamped  on  paper  and  read.  That  explains,  in 
/,„,/.',;/ 

AflBCDEFGHIIKLMNOPQRSTUVWXYZ& 
aabcdeffghijklmnopqrstuvwxyz   1234567890 

(S£..:;-'?!....*t) 


8 


POINT 


Matrix   Information:  8A4HK.   Lower 
zine.  Code  word.  ZICLE. 


a'ic  .tlphabet.    10*1  points,    FiKHi 


imiiiia,   period  and  tliiii  spa 


iiel  majiA- 


621 


% 


MEMPHIS  MEDIUM  with  BOLD 


10 

POINT 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC 
DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPEC 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent  practical  fitness  to  perform 
its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool 
has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly  the  work 
that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of  mate- 
rial and  no  lack  of  strength.  And,  beyond  that,  the  chair  may  have  been  made  by  a  man  who 
worked  out  in  it  his  sense  of  fine  shapes  and  curves  and  proportions:  it  may  be,  actually,  a 
work  of  art.  The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  letter  (if  a  true 
artist  made  it)  will  have,  besides  its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or 
stamped  on  paper  and  read.  That  explains,  in  a  way,  why  the  experts  rave  over  the  fine 
shapes  of  letters;  but  it  fails  to  explain  wherein  the  shapes  are  fine.  If  you  seek  to  go  further 
with  the  inquiry,  theories  will  be  your  only  answer.  Here  is  a  theory  that  the  proponent  thinks 
may  have  sense  in  it:  Fine  type  letters  were,  in  the  first  place,  copies  of  fine  written  letters. 
Fine  written  letters  were  fine  because  they  were  produced  in  the  most  direct  and  simple  way 
by  a  tool  in  the  hands  of  a  person  expert  in  its  use,  by  a  person,  moreover,  who  was  an 
artist  i.e.,  a  person  equipped  to  make  sound  judgments  about  lines,  curves,  proportions,  etc. 

Kwo  fvint  li-adcd) 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC 
DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPEC 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent  practical  fitness  to  perform 
its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool 
has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly  the  work 
that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of  mate- 
rial and  no  lack  of  strength.  And,  beyond  that,  the  chair  may  have  been  made  by  a  man  who 
worked  out  in  it  his  sense  of  fine  shapes  and  curves  and  proportions:  it  may  be,  actually,  a 
work  of  art.  The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  letter  (if  a  true 
artist  made  it)  will  have,  besides  its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or 
stamped  on  paper  and  read.  That  explains,  in  a  way,  why  the  experts  rave  over  the  fine 
shapes  of  letters;  but  it  fails  to  explain  wherein  the  shapes  are  fine.  If  you  seek  to  go  further 
with  the  inguiry,  theories  will  be  your  only  answer.  Here  is  a  theory  that  the  proponent  thinks 
may  have  sense  in  it:  Fine  type  letters  were,  in  the  first  place,  copies  of  fine  written  letters. 
Fine  written  letters  were  fine  because  they  were  produced  in  the  most  direct  and  simple  way 
by  a  tool  in  the  hands  of  a  person  expert  in  its  use,  by  a  person,  moreover,  who  was  an 
artist  i.e.,  a  person  equipped  to  make  sound  judgments  about  lines,  curves,  proportions,  etc. 

(two  point  leaded) 

AABCDEFGHIJKLMNOPQRSTUVWXYZ& 

AflBCDEFGHIIKLMNOPQRSTUVWXYZ& 
aabcdeffghijklmnopqrstuvwxyz  1234567890  ($£,.:;-'?! «»*t) 
aabcdeffghijkhnnopqrstuvwxyz  1234567890  ($£,.:;-'?!«» *t) 

Matrix  Information:  10A454.  Lower  case  alphabet.  134  points.  Figures.  .0692;  comma,  period  and  thin  space.  .0346.  Runs  in  90  channel  maga- 
zine. Code  word,  ZICMI. 


622 


MEMPHIS  MEDIUM  with  BOLD 


® 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF 
ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to 
their  eyes?  Good  design  is  always  practical  design.  And  what  they  see  in 
a  good  type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its 
work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the 
right  size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and 
thick,  nor  "skinny"  and  weak,  no  waste  of  material  and  no  lack  of  strength. 
And,  beyond  that,  the  chair  may  have  been  made  by  a  man  who  worked 
out  in  it  his  sense  of  fine  shapes  and  curves  and  proportions:  it  may  be, 
actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of  letters.  And  your 
chair,  or  your  letter  (if  a  true  artist  made  it)  will  have,  besides  its  good  looks, 
a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped  on  paper  and  read. 


/'..Ill/  l,;idrih 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF 
ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to 
their  eyes?  Good  design  is  always  practical  design.  And  what  they  see  in 
a  good  type  design  is.  partly,  its  excellent  practical  fitness  to  perform  its 
work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the 
right  size  to  do  exactly  the  work  that  the  chair  has  to  do.  neither  clumsy  and 
thick,  nor  "skinny"  and  weak,  no  waste  of  material  and  no  lack  of  strength. 
And,  beyond  that,  the  chair  may  have  been  made  by  a  man  who  worked 
out  in  it  his  sense  of  fine  shapes  and  curves  and  proportions:  it  may  be, 
actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of  letters.  And  your 
chair,  or  your  letter  (if  a  true  artist  made  it)  will  have,  besides  its  good  looks, 
a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped  on  paper  and  read. 


(tin 


■  foint  Icadid  i 


AABCDEFGHIIKLMNOPQRSTUVWXYZ6c 
AflBCDEFGHIIKLMNOPQRSTUVWXYZ& 

aabcdeffghijklmnopqrstuvwxyz  1234567890  ($£,.: ;-'?!«»*t) 
aabcdeffghijklmnopqrstuvwxyz  1234567890  ($£,.:;-'?!«» *t) 


12 

POINT 


.Uu/ii.r  hiiormnlioH  :  lJA-166.    Lc.wer 
/itu'.  Code  word,  ZU^NO. 


.ilphaliL-t,    l(i7  I)(lillt^-    Fimires.   .U8J:  t.iniin.i.   period  ami  tin 


el   iiiaK-'* 


623 


^ 


MEMPHIS  MEDIUM  with  BOLD 


POINT 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN 
14  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE- 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its 
esthetic  design?  Why  do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why 
is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is 
always  practical  design.  And  what  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fitness  to  perform  its 
work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for 
its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts 
made  nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair 
has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no 
waste  of  material  and  no  lack  of  strength.  And,  beyond  that, 

(four  point  leaded) 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN 
TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE- 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its 
esthetic  design?  Why  do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why 
is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is 
always  practical  design.  And  what  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fitness  to  perform  its 
work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for 
its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts 
made  nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair 
has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no 
waste  of  material  and  no  lack  of  strength.  And,  beyond  that, 

(/</»/-  point  Icadedl 

AABCDEFGHIJKLMNOPQRSTUVWXYZ& 

AflBCDEFGHIIKLMNOPQRSTUVWXYZ<Sr 

aabcdeffghijklmnopgrstuvwxyz  1234567890  ($£,.:;-'?!«  »*t) 

aabcdeffghijklmnopqrstuvwxyz  1234567890  ($£,.:;-'?!<o>*t) 

Matrix  Injormation:  14A240.  Lower  case  aliihabet.  197  points.   Figures.  .0968;  comma,  period  and  tbin  space.  .0484.  Runs  in  90  channel  maga 
zine.  Code  word,  ZICRA. 


624 


MEMPHIS  BOLD  with  MEDIUM 


% 


INT 


EIGHTEEN    POINT 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in  the  po 
art  of  printing  rave  over  a  specific  face  of  type?  What 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  of  type?  What 


TWO- 
LETTER 


(/""<-  pmiil  l,;ul,-d) 


AftBCDEFGHIJKLMNOPQRSTUVWXYZ6c 

AABCDEFGHIJKLMNOPQRSTUVWXYZ& 
aabcdeffghijklmnopqrstuvwxyz  1234567890  ($,.:;-'?!«») 

aabcdeffghijklmnopqrstuvwxyz  1234567890  ($,.:;-'?!«») 

Matrix  InJunnatioH  .   18A64.  Lower  ca?,e  alplial.t-l.  -Mil  p.inils.    l."lK^lt■^.  .llli;.   Runs  m]  '<ii  cIi.iuucI  iinKa/iiif ,   Icilc  w..i.l.  ZIKIJli. 


-(LINOTYPE     )- 


TWENTY-FOUR    POINT 


POINT 

TWO- 
LETTER 


How  is  one  to  assess  and  evaluate  a  type   24 
face  in  terms  of  its  1234567890  ($..:;-7!«») 

How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-make  1234567890  ($,.:;-7!«») 


(six  fi'ini  Irndfd) 


AflBCDEFGHIJKLMNOPQRSTUVW 

AflBCDEFGHIJKLMNOPQRSTUVW 

aabcdef  f  ghi  j  klmnopqrstu  vwxy  z 

aabcdef  f  ghi  j  klmnopqrstu  vwxy  z 

Matrix   Infmmnliot,     :AtSM.    Lower  lasp  alT>lial)i-l,   .!1R  p.>ilils.    FiKiire   1.    .1107;   2   t..  (1.    .K.(,.    Rv.ii-,   in    71   tliaiiiM-l   niai:a/i.io;   aUn   in   Wiile   .'-1 
diannpl  all\iliar,v  nia(;a/ine,  (  nile  w.iril.  ZIIIB. 


624  a 


WEIGHTS  •  Full  Size  Range 


METRO 


AND 


'THE   MOST   READABLE 
OF   THE    SANS    SERIFS" 


METRO 
No.  2 


Linotype's  Metro  series  is  an  original  sans  serif  face  designed  by 
W.  A.  Dwiggins,  the  eminent  American  illustrator  and  typogra- 
pher, exclusively  for  Linotype.  Metro  No.  2  is  distinguished  from 
Metro  by  reason  of  substitute  capital  and  lower  case  characters, 
yet  each  series  may  be  converted  into  the  other  with  minimum 
effort.  Metro  and  Metro  No.  2  are  each  available  in  a  complete 
size  range,  from  6-  to  36-point  in  Linotype  matrices,  with  the  A-P-L 
range  of  Metro  No.  2  comprising  6-  to  1  44-point.  Each  series  is  cut 
in  four  useful  weights:  Black,  Medium,  Lite  and  Thin.  A  compan- 
ion Italic,  in  the  Black,  Medium  and  Lite  weights,  is  a  recent  addi- 
tion to  the  family  in  a  range  of  two-letter  sizes.  Specimens,  of  all 
sizes  and  weights,  are  on  following  pages. 


MERGENTHALER  LINOTYPE  COMPANY,  BROOKLYN,  N.Y.  NEW  YORK  CITY,  CHICAGO,  SAN  FRANCISCO,  NEW  ORLEANS, 
CANADIAN  LINOTYPE,  LIMITED,  TORONTO       •       •       •       REPRESENTATIVES   IN  THE  PRINCIPAL  CITIES  OF  THE  WORLD 


LINOTYPE 


Linotype   METRO   FAMILY 

AVAILABLE  IN    M     USEFUL 

^  WEIGHTS 


METRO  BLACK      No.     Z  Linotype:  e  to  36  point  inclusive;  A-P-L:  6  to  144  point  inclusive 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  es- 
thetic design?  Why  do  the  pace-makers  in  the  art  of  printing  rave 
over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  design  is  always  prac- 
tical design.  And  what  they  see  in  a  good  type  design  is,  partly,  its 

METROMEDIUM     No.    2  Linotype:  6  to  36  point  inclusive:  A-P-I,:  etc  144  point  inclusive 

How  is  one  to  assess  end  evaluate  a  type  face  in  terms  of  its  esthetic 
design?  Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  spe- 
cific face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleas- 
ant to  their  eyes?  Good  design  is  always  practical  design.  And  what  they 
see  in  a  good  type  design  is,  partly,  its  excellent  practical  fitness  to  per- 

METROLITE       No.     2  Linotype:  6  to  36  pomt  inclusive;  A-P-L:  6  to  144  point  inclusive 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  es- 
thetic design?  Why  do  the  pace-makers  in  the  art  of  printing  rave 
over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  design  is  always  prac- 
tical design.  And  what  they  see  in  a  good  type  design  is,  partly,  its 

METROTHIN      No.    2  Linotype:  6  to  36  point  inclusive;  A-P-L:6  to  144  point  inclusive 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic 
design?  Winy  do  the  pace-makers  in  the  art  of  printing  rave  over  a  spe- 
cific face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleas- 
ant to  their  eyes?  Good  design  is  always  practical  design.  And  what  they 
see  in  a  good  type  design  is,  partly,  its  excellent  practical  fitness  to  per- 


626 


JEROME   PARKINSON,  M.  D. 

154  Sixth  Street,  Ithaca,  New  York 


("LINOTYPE") 

LINING 
Metromedium  with 

Metrothin 


EPHONE;  Green  200 


"Stansico  Permanency" 


Stanford,  Whittington  Cr  Co. 


INCORPORATED 


BUILDERS 


RENCE  M.  Stanford, 

PRESIDENT 


855   MONONCAHELA  AVENUE 
ALCANTON,  N.  Y. 


JEROME   PARKINSON,  M.  D. 

Announces  the  Removal  of  his  Offices  to 
154  Sixth  Street,  Ithaca,  N.Y. 


TO    2    AND    7  TO 


TELEPHONE:    UNIVERSITY    3456 


Letterhead :  Set  in  12  point  Lining  Metromedium, 
12  pnint  A.  and  12  point  C. 

AnUiHtncemcnt :  Set  in  12  point  Lining  Metnune- 
diuni.  12  point  A.  12  point  B.  and  12  point  (';  and 
6  point  Lining  Metnitliiii  and  6  point  B. 

Cord:  Set  in  12  point  A  and  C  Lining  Metrome- 
dium; 12  point  A,  B  and  C  Lining  Metrothin;  ami 
6  point  Metrnmcdlinn.  6  point  A  and  '-  pmnt  H  and 
6  point   Metrothin  B. 


The  various  sizes  of  this  series  will  run  in  maga- 
zines as  follows  {according  tn  Keyboard  Diagram 
No.  '^81  :  '['he  three  si/es  of  U  point  may  he  at.-com- 
modated  in  one  MO  chaiuiel  magazine.  The  It  si/e 
will  run  in  eitlier  the  h>wer  case  or  center  dian- 
tu'ls.  The  two  larger  si/es  will  run  in  lower  case, 
center  or  cap  channels.  The  four  si/es  of  12  point 
will  run  in  the  lower  case,  center  or  cap  cliainiels 
nt  a  90  channel  nutga/iue. 

'I'he  three  sizes  of  6  point  and  the  four  .sizes  of 
12  point  can  thus  be  accommodated  in  two  'J(t  chan- 
nel magazines  with  one  size  rmining  in  the  auxili- 
ary. The  largest  size  of  the  6  point  and  any  one  of 
the  12  point  si/es  will  run  in  the  34  channel  and 
Wide  34  channel  auxiliary  magazines.  The  A  aiul 
B  si/es  of  6  point  will  run  in  the  34  channel  and 
Wide  34  channel  (with  narrow  channels)  auxiliary 
maKa/ines. 

The  three  si/es  of  6  point  are  on  the  same  align- 
ment, and  will  cast  'm  a  '>  point  >Iny.  'I  lie  iour 
si/es  of  12  point  are  on  the  same  aliKument  and 
will  cast  on  a  12  point  slug. 


6  POINT  Lining  Metromedium  with  Metrothin 

three   useful  sizes  of  SfX  POINT:  MOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE   FACE   IN   TERMS 

THREE  USEFUL  SIZES  OF  SIX  POINT:  how  is  one  to  assess  and  evaluate  a  type  FACE  IN  TERMS 

11  (6A380) 

ABC0EFGHIJKLMNOPQRSTUVWXYZ&/£<I     1334567890     ($,.:;'-'?!) 

ABCDEFGHIJKLMNOPQRSTUVWXYZO^CE      1234567890     ($.    ;;'-'?l) 

A   10AJ78) 

ABCDEFCHIJKI.MNOPQRSTUVWXYZ&/ia     1234567890     (S, .:;'-'?!) 
ABCDEFGHUKLMNOPQRSTUVWXYZ&/ECE     1234567890     ($,.:;'-'?!) 

(6A376) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&/EaE    1234567890   ($,.:;' 


'?!) 


ABCDEFGHIJKLMNOPOPSTUVWXYZ&/ECE    1234567890    ($,.:;'-'?!) 

1 2  POINT  Lining  Metromedium  with  Metrothin 

FOUR  USEFUL  SIZES  OF  TWELVE  point:  how  is  one  to  assess  AND 

FOUR  USEFUL  SIZES  OF  twelve  point:  how  IS  ONE  TO  ASSESS  AND 

C   (12A-12JI 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&/ECE    1234567890   ($,.:;'-'?!) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&/ECE    1234567890    ($,,:;■-'?!) 
B  (IJA-l-'O) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&/ECE   1234567890  ($,.:;'-'?!) 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&/ECE    1234567890  ($,.:;'-'?!) 

A  (1JA-)IS) 

ABCDEFGHIJKLMNOPQRSTUVWXYZCr/ECI   1  234567890 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&/ECE   1  234567890 

ll.'A-IlM 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&/ECE  1  234567890 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&/ECE  ]  234567890 


METROBLACK    No.   2 


with  METROLITE   No.  2 


COMPARISON    OF   SIZES 

6  Point  (6A310)  Lower  case  aliihabet.  95  points.  Figures,  .0S5J 

HOW  IS  ONE  to  assess  ond  evaluate  a  type  face  In  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of  pri  1234 

HOW  IS  ONE  to  ossess  and  evaluate  o  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of  pri  1234 

8  Point  (SA-t-ii)  Lower  case  alphabet,  108  points.  Figures,  .0692 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  i  1  234 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  i  1  234 

II)  Point   (10A.3X2I  Luwer  ,;ise  alplialiet.  13fi  p,,rnts.   Figures,  .08.1 

HOW  IS  ONE  t-o  assess  and  evaluate  a  type  face  in  terms  of  Its  esthetic  design?  Why  1 234 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  1  234 

12  I'oiut    (1-'A36-4I  l.c.wer  tase  ali)haliet.  P.J  points,   l-igures,  .0968 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  1 234 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  1 234 

H  Point   (14A19f,)  Lower  c.isc  alphabet.  190  points.  Figures.  .1107 

HOW  IS  ONE  to  assess  and  evaluate  a  typeface  in  terms  of  i  1234 

HOW  IS  ONE  to  assess  and  evaluate  a  typeface  in  ternnsof  i  1234 

18  Point.  Two-Letter  (18A8)  Lower  case  alphabet.  2,56  points.  Figures.  .1107 

HOW  IS  one  to  assess  and  exaluafe  a  type  face  in  1 12 

HOW  IS  one  to  assess  and  evaluate  a  type  face  in  1 12 

24  Point,  Two-Letter  (24A8)  Lower  case  alphabet,  J02  points.  Figure  1.  ,1383;  2  to  0.  ,19,57 

HOW  IS  one  to  assess  and  evaluate  a  f  12 

HOW  I S  one  to  assess  and  eva  I  uate  a  1 1 2 


-(  "LINOTYPE   "> 


LIST   OF   CHARACTERS   AVAILABLE    IN    TWO-LETTER    FONTS 

ABCDEFGHUKLMNOPQRSTUVWXYZer 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
12345        abcdefghijklmnopqrstuYwxyz        67890 

12345        abcdefghijkimnopqrstuvwxyz        67890 


$£,.:;'-?!- 


— /ECEaece         .  .  .  ()nt§11[]@tB% 
— /ECEaeoe.  .  .  ()ni:§11[]@tb% 

'/8  V4  3/8^2  5/8  3/4  ys 

i/siAysyzys^ys 


TWO-LETTER    LOGOTYPES 

To  Te  To  Va  Ve  Vo  Wo  We  Wi  Wo  Wr  Ya  Ye  Yo 

Ta  Te  To  Va  Ve  Vo  Wa  We  Wi  Wo  Wr  Ya  Ye  Yo 

Available  as  ;m  extra,  '■  tn  J4  pf.  inclusive 

ALTERNATIVE    CHARACTERS 
These  characters,  in  Metrnhlack  with  .Metrnlite.  iiia\  lie  MiiistiiuifJ  n>r  those  shown  above  and  rcKiilarly  supplied. 

We  AGJ  M  N  VWagvw,  ;" 

Special  No.  1  Two-Letter:  6A298,  8A410.  10A.164,  12A302,  14A180, 

18A8  (Special  No.  6).  24A8  (Special  No,  6) 
One-Letter  Mctroblack:  18A321,  24A267,  30A193,  36A103. 
One-Letter  Metrolite:  18A235.  24A269,  30A197,  .36A10-=^. 


628 


METROBLACK    No.   2 


1 


METROLITE    No.  2 


COMPARISON    OF   SIZES 


IS  I'liiiil   ^r(•lr.ll.la<■k  N'm.  2.  Oiie-I.ctter    I  I  f- 


.■.ll)li;ih.l.  ?ir,  pcint-.    l-'iKui.--.  .1  1 


HOW  IS  one  to  assess  and  evaluate  a  type  face  in  1 12 

24  Point  Metr.ihlack  \.i,  .?.  niir-l  .(■tl<T  (J-IA-SD  Louii   ,  .i,r  .iliili.ili.i ,    llf.  iinnil-,   Imkiiii-  I .    I IM' ;  J  ti,  ii,     I'H7 

HOW  IS  one  to  assess  and  evaluate  a  1 12 

30  Point  Metri.hlaik  No    2  (10^2001  Lmutt  ,:i-;c-  .-ilplialict .  ,10^  points     I'ilmim-  1  ,  .166:  2  to  0.  .2-)') 

HOW  IS  one  to  assess  and  e  12 

36  Point  Melroblaik  No.  2  (.IfiAIlSI  l..,wcr  rasp  alplialicl.  -171   points.    FiKinc  1.  .I'H7:  2  to  (I.  .2'«)., 

HOW  IS  one  to  assess  a  12 

IX   I',  lint   .\h-lrolrtf  .\o    J,  (  Ine-I  ctli-r   I  |yA<'l  I  I  .ou  rr  i  .is.-  .ilpli.ili.-l ,   J  ( !  jionil  s.    !■  ifn. ,- ,     I  107 

HOW  IS  one  to  assess  and  evaluate  a  type  face  in  tl2 

24  I'ouit   Mrlrolitf.  .\o    2.  (  IPf  - 1  ctler   I24A2.H,1|  lo«,i   ,  ,is,.  ,,li.li,il,,l .    ll(,i>oinls.    hiqur.-   I  ,  .  I  24s  ;  j  lo  i^     |wi7 

HOW  I S  one  to  assess  and  eva I  uate  a  1 1 2 

,10  Point   Metrolitt-  No.   2   (20A211  I  Lower  tase  alplial.ft.  .V«l  ],oints.    kijcnre  I.  .]l,i,:  2  to  n.    J49 

HOW  IS  one  to  assess  and  e  12 

J6  Point  .Metlolilf  N(..  2  (,V>A117)  Lower  case  alplmliet.  4fif.  points.   FiRnre  1.  .19.37;  2  to  0.  .2Vf», 

HOW  IS  one  to  assess  a  12 


See  Metrolile  No.   2  witii   .Men  oblack  N'o.   2  section  lor 
full  showing  of  18.  24.  30  ami  ,1i.  point  _\letr.>lite  No.  2 


And  both  weights  in  A-P-L  matrices: 

MM  M  MM 


Right  on  up  to  1  44  point- 
see  A-P-L  specimens  on 
following  pages 


M 


mMM 


629 


METROBLACK    No.  2 


with  METROLITE   No.  2 


6     POINT 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN 
TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MA 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its 
esthetic  design?  Why  do  the  pace-makers  in  the  art  of  print- 
ing rave  over  a  specific  face  of  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design 
is  always  practical  design  And  whot  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fitness  to  perform  its 
work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right 
for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of 
its  parts  made  nicely  to  the  right  size  to  do  exactly  the  work 
that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor 
"skinny"  and  weak,  no  waste  of  material  and  no  lack  of 
strength.  And,  beyond  that,  the  chair  may  have  been  made 
by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and 
curves  and  proportions:  it  may  be,  actually,  a  work  of  art. 
The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or 
your  letter  (if  a  true  artist  made  it)  will  have,  besides,  its 
good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or 
stamped  on  paper  and  read.  That  explains,  in  a  way,  why  the 
experts  rave  over  the  fine  shapes  of  letters;  but  it  foils   to 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
abcdefghijklmnopqrstuvwxyz  1234567890  ($£,.:,'-'?!*t ) 

Matrir  htformation :  6A310.  I.iiwer  case  alphabet,  ''S  points.   FiKure  I. 
and  tliiii  space.  .0277.  Runs  in  90  channel  magazine.  Code  word,  ZADIJ. 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN 
TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MA 
How  IS  one  to  assess  and  evaluate  a  type  face  in  terms  of  its 
esthetic  design?  Why  do  the  pace-makers  in  the  art  of  print- 
ing rave  over  a  specific  face  of  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design 
is  always  practical  design.  And  what  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fitness  to  perform  its 
work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right 
for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of 
its  parts  made  nicely  to  the  right  size  to  do  exactly  the  work 
that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor 
"skinny"  and  weak,  no  waste  of  material  and  no  lack  of 
strength.  And,  beyond  that,  the  chair  may  have  been  made 
by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and 
curves  and  proportions:  it  may  be,  actually,  a  work  of  art 
The  some  thing  holds  for  shapes  of  letters.  And  your  chair,  or 
your  letter  (if  a  true  artist  made  it)  will  have,  besides,  its 
good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or 
stamped  on  paper  and  read.  That  explains,  in  a  way,  why  the 
experts  rave  over  the  fine  shapes  of  letters;  but  it  fails   to 

It  leaded  I 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
abcdefghijklmnopqrstuvwxyz  1234567890  ($£,.  :;'-'?!*t ) 

.OSii   (ReKular)  or  .0415   (Special  No.  1)  :  2  to  U.  .OSSJ;  comma,  period 


-("LINOTYPE"   > 


8     POINT 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  F 
IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE 
How  is  one  to  assess  and  evaluate  o  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to 
their  eyes?  Good  design  is  always  practical  design.  And 
what  they  see  in  a  good  type  design  is,  partly,  its  ex- 
cellent practical  fitness  to  perform  its  work.  It  has  o 
"heft"  and  balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good  chair  has  oil  of 
its  parts  made  nicely  to  the  right  size  to  do  exactly 
the  work  that  the  chair  has  to  do,  neither  clumsy  and 
thick,  nor  "skinny"  and  weak,  no  waste  of  material 
and  no  lack  of  strength.  And,  beyond  that,  the  chair 
may  have  been  made  by  a  man  who  worked  out  in  it 
his  sense  of  fine  shapes  and  curves  and  proportions:  it 
may  be,  actually,  a  work  of  art.  The  some  thing  holds 
for  shapes  of  tetters.  And  your  chair,  or  your  letter  (if 
a  true  artist  made  it)  will  have,  besides  its  good  looks. 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  F 
IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in  the 
art  of  printing  rove  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to 
their  eyes?  Good  design  is  always  practical  design.  And 
what  they  see  in  a  good  type  design  is,  partly.  Its  ex- 
cellent practical  fitness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good  chair  has  all  of 
its  parts  made  nicely  to  the  right  size  to  do  exactly 
the  work  that  the  choir  has  to  do,  neither  clumsy  and 
thick,  nor  "skinny"  and  weak,  no  waste  of  material 
and  no  lack  of  strength.  And,  beyond  that,  the  chair 
may  have  been  made  by  a  man  who  worked  out  in  it 
his  sense  of  fine  shapes  and  curves  and  proportions:  it 
may  be,  actually,  a  work  of  art.  The  same  thing  holds 
for  shapes  of  letters.  And  your  chair,  or  your  letter  (if 
a  true  artist  mode  it)  will  have,  besides  its  good  looks. 


(IliKi  paint  haded  I 

ABCDEFGHIJKLMNOPQRSTUVWXYZCr       ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

obcdefghijklmnopqrstuvwxyz  1234567890       abcdefghijklmnopqrstuvwxyz  1234567890 

($£,.:;'-7!*t)         ($£,.  ;;'-'?!-t ) 

Alternative  Figures:  Gothic  No.  4.S  with  (n.thic  No.  4,1   {XA49_')    Figure  1.  .0SS2;  2  to  0.  .0692.  Code  word.  ZIBEC. 

1234567890       1234567890 

Alternative  Figures     CotliK    No.   41    (8A1?7)    I'lKures.   .083.   Code  word.  ZEHZI. 

1234567890 

Matrix  Information :  RA426.  Lower  case  alphabet.  108  points.  Figure  1.  .0602  (Reyiilar)  or  .0553  (Special  No.  1 )  :  2  to  0,  .0692:  comma,  period 
and  thin  space.  .0346.  Runs  in  90  channel  magazine.  Code  word.  ZADIP. 


630 


METROBLACK    No.   2 


1 


with  METROLITE    No.  2 


10     POINT 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC 
DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in 
it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  practical  de- 
sign. And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent  practical  fitness  to 
perform  its  work.  It  has  a  "heft" and  balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has. Your  good  choir  has  all  of  its  parts  made  nicely  to  the  right  size  to  do 
exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and 
weak,  no  waste  of  material  and  no  lack  of  strength.  And,  beyond  that,  the  chair  may 
have  been  mode  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and  curves  and 
proportions:  it  may  be,  actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of  letters. 
And  your  chair,  or  your  letter  (if  a  true  artist  mode  it)  will  have,  besides  its  good  looks, 
a  suitability  to  the  nth  degree  to  be  sot  in,  or  stamped  on  paper  and  read.  That  explains, 
in  a  way,  why  the  experts  rove  over  the  fine  shapes  of  letters;  but  it  fails  to  explain 
wherein  the  shapes  are  fine.  If  you  seek  to  go  further  with  the  inquiry,  theories  will  be 

(tinci-  feint  li-aiirjl 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC 
DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A 
How  is  one  to  assess  and  evaluate  o  type  face  in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in 
it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?'  Good  design  is  always  practical  de- 
sign. And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent  practical  fitness  to 
perform  its  work.  It  has  a  "heft"and  balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has. Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do 
exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and 
weak,  no  waste  of  material  and  no  lack  of  strength.  And,  beyond  that,  the  chair  may 
have  been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and  curves  and 
proportions:  it  may  be,  actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of  letters. 
And  your  chair,  or  your  letter  (if  a  true  artist  made  it)  will  have,  besides  its  good  looks, 
a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That  explains, 
in  a  way,  why  the  experts  rawe  over  the  fine  shapes  of  letters;  but  it  fails  to  explain 
wherein  the  shapes  are  fine.  If  you  seek  to  go  further  with  the  inquiry,  theories  will  be 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
abcdefghijklmnopqrstuvwxyz  1 234567890  ( $£,. :;'-'?!    t ) 

abcdefghijklmnopqrstuvwxyz  1  234567890  ($£,.:;'-'?! '^  t ) 

Altcniiitti;-  figiiu's     i;..ilii,-  ,\,..  .IS  with  iM.tliii-  \,,,  43  (inA^t^.-o    lmur.>  I.    (ir.'iJ:  J  tn  o.  .osv  i  .ulr  u,i,,l.  /IHF.J. 

1234567890     1234567890 

.-titcnnilirr   h'lniinx     i.miIh,     X,,      11     ll(l^,14^)    I'imnr-       ii'K.S     (  ,i,1i-    «..nl.    ZK.IHI. 

1234567890 

Mulrir  liih^rmation  \nl\XK.  I.r.wor  cT-o  .illill.-ilict.  IV,  |i,.iii1v  l-rnni-  1.  nxt  i  R,.i;,,l;ir  1  c.r  IWn  (Spcri.-il  N'..,  1  I  ;  2  to  I).  .(IS.i;  cniimi:i.  period 
an. I  til. II  ^|);ki',    IMIS,   Riiii>.  mi  '«i  .liaiiiu-l  ni.ina/inc.  f.i.lc  «m,,1.  /.\\)\\:. 


631 


METROBLACK    No.  2 


with  METROLITE    No.  2 


12  POINT 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF 
ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design.  And  what  they  see  in  a  good 
type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its  work.  It 
has  a  "heft"and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good 
tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to 
do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor 
"skinny"  and  weak,  no  waste  of  material  and  no  lack  of  strength.  And, 
beyond  that,  the  chair  may  have  been  made  by  a  man  who  worked  out  in  it 
his  sense  of  fine  shapes  and  curves  and  proportions:  it  may  be,  actually,  a 

(four  foitit  leaded) 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF 
ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design.  And  what  they  see  in  a  good 
type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its  work.  It 
has  a  "heft"and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good 
tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to 
do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor 
"skinny"  and  weak,  no  waste  of  material  and  no  lack  of  strength.  And, 
beyond  that,  the  chair  may  have  been  made  by  a  man  who  worked  out  in  it 
his  sense  of  fine  shapes  and  curves  and  proportions:  it  may  be,  actually,  a 

(^-,r^^.,„/  leaded  I 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ABCDEFGH I J  KLMNOPQRSTUVWXYZ& 
abcdefghijklmnopqrstuvwxyz  1234567890  ($£,.:;'-'?!   t) 

abcdefghi jklmnopqrstuvwxyz  1 234567890  ($£,. :;'-? ! *  t ) 

Altc-natix',-  Fnjiiics:  Gothic  No.  45  with  Gothic  No.  A^  (1JA470)  Figure  1,  .083:  2  to  n.  .0968.  Co<le  word,  ZIBEP. 

1234567890     1234567890 

Altcriuitive  I-ignies.   Gnlhu    \i.,  41    l\2ls\lu\    l-iuurc^.   .1107.  Lode  word,  ZEJCO. 

1 234567890 

Matiix  Inliinnation  :  I2A.V>4.  I.i.wer  case  alphabet.  16,1  points.  Fifc'iire  1.  .0968  (Regular)  or  .08.1  (Special  No.  1)  :  2  to  0.  .0968:  comma,  period 
and  thin  space.  .0484.  Runs  in  90  channel  magazine,  (ode  word,  ZADLO. 


632 


METROBLACK    No.   2 


1 


with  METROLITE    No.  2 


14     POINT 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN 
TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MA 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  es- 
thetic design?  Why  do  the  pace-makers  in  the  art  of  printing  rave 
over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  design  is  always  prac- 
tical design.  And  what  they  see  in  a  good  type  design  is,  partly,  its 
excellent  practical  fitness  to  perform  its  work.  It  has  a  "heft^'and 
balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool 
has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right 
size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN 
TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MA 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  es- 
thetic design?  Why  do  the  pace-makers  in  the  art  of  printing  rave 
over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  design  is  always  prac- 
tical design.  And  what  they  see  in  a  good  type  design  is,  partly,  its 
excellent  practical  fitness  to  perform  its  work.  It  has  a  "heft"and 
balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool 
has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right 
size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
abcdefghijklmnopqrstuvwxyz  1234567890  ($£,.:;'-?!    t) 

abcdefghijklmnopqrstuvwxyz  1234567890  ($£,.:;'-?! ^  ) 

.lllriiHili:;    l-uiin,^     (m,iIii,    N..     4"    iMtliiM.il,,,    .\,,    -i  ',    ,  ;  i  ■     -U )    limnr    i,     ii'i-  s  ;   J   l. .  ii.   .  11117.   I  ,k1c  u .  n  ,1.   /  I  HI- I 

1234567890    1234567890 

.//^  i,i,i/i;-,     luiiu,-.      (,Mtliu     Nil.    -41    (1-IAI-Ml    liKuii-s.    ,1!II7.    (.i.l<-    wr.v.l.    ZlvJDU. 

1234567890 

Matrix  hiUirmnlwu  MAI'"'.  l.inM-r  iMs.^  .ilpluilx-t,  l'«l  |i,  .inK,  In;  me  I.  .1  11)7  iKiKlllar)  or  .0'J68  (Special  N(i.  1  )  :  2  t"  I).  .1 107  ;  lomni.i.  p.-i  ioil 
and  lliin  -pace.  .05,^.1.   Runs  m  ■!()  .Iianncl  in.ii:a/inc.  (  .,.ie  nnnl.  /AD.MU. 


633 


METROBLACK    No.  2 


with  METROLITE    No.  2 


18     POINT,   Two-Letter 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYP 
How  can  one  assess  or  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in 
the  art  of  printing  rave  over  a  specific  face  of  type? 
What  do  they  see  in  it?  Why  is  it  so  superlatively 
pleasant  to  their  eyes?  Good  design  is  always  prac- 
tical design.  And  what  they  see  in  a  good  type  design 
is,  partly,  its  excellent  practical  fitness  to  perform 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYP 
How  can  one  assess  or  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in 
the  art  of  printing  rove  over  a  specific  face  of  type? 
What  do  they  see  in  it?  Why  is  it  so  superlatively 
pleasant  to  their  eyes?  Good  design  is  always  prac- 
tical design.  And  what  they  see  in  a  good  type  design 
is,  partly,  its  excellent  practical  fitness  to  perform 
its  work.  It  has  a  ''heft"  and  balance  in  all  of  its  parts 


tfiiur  point  leaded) 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ABCDEFGH I J  KLMNOPQRSTU  VWXYZ& 
abcdefghijklmnopqrstuvwxyz  1234567890  ($,.:;'-'?!) 

a  bcdef  g  h  i  j  k  I  mnopq  rstu  vwxy  z  1 234567890  ($,.:;'-'?!) 

FOR     72    CHANNEL    MAGAZINE 
Sl-r,-ii:l  Xu.  1 .    Fitjiire  1.   .1245;  2  to  0.  .1522  Special  No.  «:  Figure  1.  .1107;  2  to  0,  .1522 

MWZ&zl23456789O$0  1234567890 

MWZ&zl234567890$()  1234567890 

Matiix  Informatidi: :  18A8,  Lower  case  alpliabet.  2^6  points.   iMKures.  .1107.  Kuiis  in  90  channel  masazine.  Code  word.  ZKZKJ,  Also  available 
as  Metrolite  No.  2  with  Metroblack  No.  2  ( 18/^74). 


634 


METROBLACK    No.  2 


with  METROLITE    No.  2 


24     POINT,    7wo-Le«er 


HOW  IS  ONE  TO  ASSESS  AND  EVALU 
How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design?  Why 

do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  type  face?  What  do 
they  see  in  it?  Why  is  it  so  superlatively 
pleasant  to  their  1234567890  ($,.:/-?!) 


IU',ii    fi'int   iriulrdl 


HOW  IS  ONE  TO  ASSESS  AND  EVALU 
How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing 

rave  over  a  specific  type  face?  What  do 
they  see  in  it?  Why  is  it  so  superlatively 
pleasant  to  their  1234567890  ($,.:/-?!) 


(ti'lll    f"<l't    UiUlt-J  I 


ABCDEFGHIJKLMNOPQRSTUV 

ABCDEFGHIJKLMNOPQRSTUV 
WXYZ&  abcdefghijklmnopqrstuYWxyz 

WXYZ&  abcdef  gh  i  j  k  I  mnopqrstuvwxyz 

Matri.x    liiltinuatunt  :   J4A8.    I...«fi    ..is,-  .ilpli.ihel.   .idj   ])..iiils.    I'iKiiif    1.    .T.W.I;   J   t,.  II.    .I'U/.    Kiiiis   ni    7J  ihaiincl   nKiKa/inc ;   als.>   in   M   ili.inli<-l 
auxiliary  iii.ii;a/int.  Ciuii-  word,  Zll MA. 


635 


636 


METRO 


BLACK    No.  2 


18     POINT,   One-Letter 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYP 
How  can  one  assess  or  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in 
the  art  of  printing  rave  over  a  specific  face  of  type? 
What  do  they  see  in  it?  Why  is  it  so  superlatively 
pleasant  to  their  eyes?  Good  de  1234567890  ($,.:/-?!) 


(fi)i(i-  t^niiit  leadrd) 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
abcdefghijklmnopqrstuvwxyz 

FOR    72    CHANNEL    MAGAZINE 
Metroblack  No.  2  (18A329)  Metroblack  (ISA,'-'!)  Alternative  Fianrcs:  Gothic  No.  41    (18A377) 

MW       M  W 1234567890$  0    1234567890 

Special  No.  7  Special  No.  7.  Figure  1.  .124,=;:  2  to  0.  .1522  Figure  1,  .1107;  2  to  0,  .165.  Code  word,  ZELEV. 

Matri.r  Itiformatiiin  :  I8A329.  Lower  case  alphabet.  23ft  points.  Figures.  .1107.  Runs  in  90  channel  magazine.  Code  word.  ZACUD.  Also  avail- 
able in  two-letter  matrices  as  Metroblack  No.  2  with  Metrolite  No.  2  ( 18A8)  ;  Metrolite  No.  2  with  Metroblack  No.  2  (  18A74) ; 
Metroblack  No.  2  with  Italic  (  18A46). 


-(' LINOTYPE     > 


24     POINT,   One-Letter 


HOW  IS  ONE  TO  ASSESS  AND  EVAL 
How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing 
rave  over  a  speci  1234567890  ($,.:/-?!) 


(four  foiiit  leaded) 


ABCDEFGHIJKLMNGPQRSTUVW 
XYZ&  abcdefghijklmnopqrstuvwxyz 

Alternative  Fii/ines:  Gothic  No.  41   (24AJ19)   Figure  I.  .138.!:  2  to  0.  .2075.  Code  word.  ZICLFO. 

1234567890 

Matrix  Inforwatinn  :  24A281.  Lower  case  alphabet.  316  points.  Figure  I.  .1245;  2  to  0.  .1937.  Runs  in  72  channel  magazine:  also  in  34  channel 
auxiliary  nia«a/ine.  Code  word.  ZACVC  Also  available  in  two-letter  matrices  as  Metroblack  No.  2  with  Metrolite  No.  2  (24A8); 
Metroblack  No.  2  with  Italic  (24A46). 


METRO 


BLACK    No.  2 


30    POI  NT 


How  is  one  to  assess  and  evalu- 
ate any  t  abcdefghijklmnopqrs 
tuvwxyz  1234567890  ($,.:;'-?!) 

( si.v  l^initl  IfiiJcd) 

ABCDEFGHIJKLMNOPQR 
STUVWXYZ& 

i 

iAltcrtnitivr  Fiqurcs  :  Gntliic  Nn.  -11    l.^nA2-43)    Fitiiire  1.   .172'^;  J  to  n.   .2-10.   C.iIp  w(U<I.  ZRLHA. 
1234567890 

\ 

ll  Matrix  ! nfonuat i<ni     M)/S209.  Lower  case  alphaliel.  J^S  p.iiniN.  Kiuinf  I.  .\(i(>;  2  tn  i).  ,_'4''.  kiiiis  m  Wide  7J  Lliaimel  iiiaKa/iiie;  also  lower  case 

t  in  cap  channels  of  72  channel  magazine  with  caps  and  li^urcs  in  Wide  ^^  cliannel  anxiliaiy  niajia/ine.  ('i">de  word.  ZADDI. 


-(LINOTYPE     > 

36    POINT 


How  is  one  to  evaluate  and 

tr  bcdefghijklmnopqrstuY 
wxyzl234567890($,:V?!) 


(  six  Point  leaded  I 


ABCDEFGHIJKLMNOPQ 
RSTUVWXYZ& 

Alti-yiiuli-rr  Fig:ires    Hntliic  No.  41   (36AKt5)   Fi^'ure  1.  .Jli7^;  2  to  fl,  .,11^,  ("ode  woril.  /P.I  EB. 

1234567890 

Malrir  hilin-mnlioi,  :  .V.AIIS.   Lower  i-.ise  .illili.ihet,  471   points.    Figure  1.  .10.17;  2  to  0.  .J'JOo.   Runs  in  Wiilc  31  ili.innel  .iMxiliaty  iliaR.l/ine  :  also 
low.M  i.isc  ill  (.11)  .liaiintls  ,,j  Wicli'  7J  illaiim-l  iiiaiia/im-.  Coilr  uorii,  ZADEV. 


637 


APL 
METRO 


BLACK    No.   2 


42  Point  (42A1004)  Lower  case  alphabet,  554  points.  Code  word.  ZANBI. 


PERSIAN  LAMB  FUR 

Coat  of  fine  tight  curl 
and  gloss  black,  $295 


48  Point  (48A1004I  Lower  case  alphabet.  638  points.  Code  word.  ZANCO. 


SPORT  COATS  OF 

Pure  virgin  wool  16 


60  Point  (60AinO-t)  Lower  case  alphabet.  803  points.  Code  word.  ZANDU. 


FALL  SALE  OF 

Blue  and  grey  9 


72  Point  I72AI004)  Lower  case  alphabet.  965  points.  Code  word.  ZANEF. 


FOUR  RUGS 

Selling  at  83 


All -Purpose  Linotype  matrices  are  also  available  in  6,8,  10,12,14,  18,24,30  and  36  point  sizes. 

637  a 


APL 


METRO 


BLACK    No.   2 


S4  i'oiiit    IS-4Aln(14)   l.r.wer  c.-isc  .•ilplialiet.  11-4.!  i.i.mls    in.li-  \\.,r<\.  XFUKK. 


SEVEN  BIG 

Bargains  26 


96  Point  (9r,A1nn4)  T..iwer  cJist-  .ilplKibcl .  1J7_'  pnims,  (...Ip  «uiil,  ZKIiKK 


Gay  Hat  9 


120  Point    (l.'nAin(l4)   I.nwer  rnsf  nlnli;itiet.   )  S-'K  points,  (  o.le  \\or.i.  XKIiFF.. 


King  In  8 


14-1  I'onil    (144,\1IIII4I   l..iwi-r  CISC  :ilplial«-t.   I  7').(  p..ints,  IJode  «  or.!.  Zl-.l'.llv 


Many] 


637  b 


METROBLACK   No.  2 


with  ITALIC 


COMPARISON    OF   SIZES 

r.  Point  (6A4.14)  Lower  case  alpli.ihet.  95  points.  Fiijures.  .0553 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of  pri  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of  pri  1234 

S  Point  (8A512I  Lower  (.f-e  alpli.il.et.  110  points.  Figures.  .0692 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  7234 

10  Point  (I0A476)  Lower  case  alphabet.  1J7  points.  Figures.  .083 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  1234 

12  Point  (12A476)  Lower  case  alphabet.  164  points.  Figures.  .0968 

HOW  IS  ONE  to  assess  and  evaluafea  type  face  in  terms  of  its  esthetic  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  1234 

14  Point  (14A250)  I^ower  case  alphaliet.  191  points.  Figures.  .1107 

HOW  IS  ONE  to  assess  and  evaluate  a  typeface  in  terms  of  i  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  i  1234 

15  I'c.int,  Two-Letter   (mA4i.l  Lower  i;.se  alpb.iiit-t.  231)  points.   Figures.  .1107 

HOW  IS  one  to  assess  and  evaluate  a  type  face  in  1 12 
HOW  IS  one  to  assess  and  evaluate  a  type  face  in  1 72 

24  Point.  Two-Letter  (24A46)  Lower  case  alphabet,  311  points.  Figure  1.  .1383;  2  to  0.  .1937 

HOW  IS  one  fo  assess  and  evaluate  a  1 12 
HOW  IS  one  to  assess  and  evaluate  at  12 


-("°  LINaTYPE"'»> 


LIST   OF   CHARACTERS   AVAILABLE    IN    TWO-LETTER    FONTS 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

12345         abcdefghijklmnopqrstuYwxyz         67890 

12345         abcdefghijklmnopqrstuYWxyz         67890 

H,.:;'-'?l-\—JECE3eoe         .  .  .  ()*t1:§1I[]@tb  % 

$£,.:;'-'?!-— JEdaeos ...         (rtt§U]@1h% 

V&VaVsViVsVaVb 
VbVaVsViVbVaVz 

ALTERNATIVE    CHARACTERS 
These  characters,  in  Mefroblack  with  Italic,  may  be  substituted  for  those  shown  above  and  recrnlarly  supplied. 

Wc  ACJ  M  N  VWagvw,  ;" 

Special  No.  1  Special  No.  6 


638 


METROBLACK    No.  2 


with  ITALIC 


6    POINT 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN 
TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MA 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its 
esthetic  design?  Why  do  the  pace-makers  in  the  art  of  print- 
ing rave  over  a  specific  face  of  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design 
is  always  practical  design.  And  what  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fitness  to  perform  its 
work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right 
for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of 
its  parts  made  nicely  to  the  right  size  to  do  exactly  the  work 
that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor 
"skinny"  and  weak,  no  waste  of  material  and  no  lack  of 
strength.  And,  beyond  that,  the  chair  may  have  been  made 
by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and 
curves  and  proportions:  it  may  be,  actually,  a  work  of  art. 
The  some  thing  holds  for  shapes  of  letters.  And  your  chair,  or 
your  letter  (if  a  true  artist  made  it)  will  have,  besides  its 
good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or 
stamped  on  paper  and  read.  That  explains,  in  a  way,  why  the 
experts  rave  over  the  fine  shapes  of  letters;  but  it  fails  to 
explain  wherein  the  shapes  are  fine.  If  you  seek  to  go  further 
with  the  inquiry,  theories  wilt  be  your  only  answer.  Here  is  a 
theory  that  the  proponent  thinks  may  have  sense  in  it:  Fine 
type  letters  were,   in  the   first   place,  copies  of   fine  written 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
abcdefghiiklmnopqrstuvwxyz  1234567890  ($£,.:;'-'?!*  f) 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN 
TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MA 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its 
esthetic  design?  Why  do  the  pace-makers  in  the  art  of  print- 
ing rave  over  a  specific  face  of  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design 
is  always  practical  design.  And  what  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fitness  to  perform  its 
work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right 
for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of 
its  parts  made  nicely  to  the  right  size  to  do  exactly  the  work 
that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor 
"skinny"  and  weak,  no  wosfe  of  material  and  no  lack  of 
strength.  And,  beyond  that,  the  chair  may  have  been  made 
by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and 
curves  and  proportions:  it  may  be,  actually,  a  work  of  art. 
The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or 
your  letter  (if  a  true  artist  made  it)  will  have,  besides  its 
good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or 
stamped  on  paper  and  read.  That  explains,  in  a  way,  why  the 
experts  rave  over  the  fine  shapes  of  letters;  but  it  fails  to 
explain  wherein  the  shapes  are  fine.  If  you  seek  to  go  further 
with  the  inquiry,  theories  will  be  your  only  answer.  Here  is  a 
theory  that  the  proponent  thinks  may  have  sense  in  it:  Fine 
type  letters   were,   in  the  first  place,   copies  of   fine   written 

U  h'.nUJI 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
abcdefghiiklmnopqrstuvwxyz  7234567890  ($£,.:;'-'?!' f ) 


Matrix  Ini,>i  nuilhoi  ■  riA4J4.   1.^ 
zine.  Code  wurd.  ZIKFA. 


alpli.Lliet. 


rits.    Figure 


tid  and   llmi  spac 


el  niaga- 


-(LINOTYPE"   > 

8     POINT 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE 
FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY 
How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace-makers 
in  the  art  of  printing  rave  over  a  specific  face  of  type? 
What  do  they  see  in  it?  Why  is  it  so  superlatively 
pleasant  to  their  eyes?  Good  design  is  always  practi- 
cal design.  And  what  they  see  in  a  good  type  design 
is,  partly,  its  excellent  practical  fitness  to  perform  its 
work.  It  has  a  "heft"  and  balance  in  all  of  its  parts 
just  right  for  its  size,  as  any  good  tool  has.  Your  good 
chair  has  all  of  its  parts  made  nicely  to  the  right  size 
to  do  exactly  the  work  that  the  chair  has  to  do, 
neither  clumsy  and  thick,  nor  "skinny"  and  weak, 
no  waste  of  material  and  no  lack  of  strength.  And, 
beyond  that,  the  chair  may  have  been  made  by  a  man 
who  worked  out  in  it  his  sense  of  fine  shapes  and 
curves  and  proportions:  it  may  be,  actually,  a  work  of 
art.  The  same  thing  holds  for  shapes  of  letters.  And 
your  chair,  or  your  letter  (if  a  true  artist  made  it)  will 
have,  besides  its  good  looks,  a  suitability  to  the  nth 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE 
FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY 
How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace-makers 
in  the  art  of  printing  rave  over  a  specific  face  of  type? 
What  do  they  see  in  it?  Why  is  it  so  superlatively 
pleasant  to  their  eyes?  Good  design  is  always  practi- 
cal design.  And  what  they  see  in  a  good  type  design 
is,  partly,  its  excellent  practical  fitness  to  perform  its 
work.  It  has  a  "heft"  and  balance  in  all  of  its  parts 
just  right  for  its  size,  as  any  good  tool  has.  Your  good 
chair  has  all  of  its  parts  made  nicely  to  the  right  size 
to  do  exactly  the  work  that  the  chair  has  to  do, 
neither  clumsy  and  thick,  nor  "skinny"  and  weak, 
no  waste  of  material  and  no  lack  of  strength.  And, 
beyond  that,  the  chair  may  have  been  made  by  a  man 
who  worked  out  in  it  his  sense  of  fine  shapes  and 
curves  and  proportions:  it  may  be,  actually,  a  work  of 
art.  The  same  thing  holds  for  shapes  of  letters.  And 
your  chair,  or  your  letter  (if  a  true  artist  made  it)  will 
have,  besides  its  good  looks,  a  suitability  to  the  nth 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
abcdefghiiklmnopqrstuvwxyz  1  234567890 

($£,.:;'-'?r*t) 

Matrix  In\,irmati,ni     SA51J.  Lower  case  alplial.el.   lin  p.iints.   Figures 
zine.  Code  «nrd,  ZIKHI. 


ABCDEFGHIJKLMNOPQRSTUyWXYlS. 
abcdefghiiklmnopqrstuvwxyz  1 234567890 

($£,.:;'-'?!' t) 

.n69J;  comiii.'i.   pciiini  .iiul  tliiii  space.   .n.Mf).   Riiiis  in  90  (.liAiinel   inaj 


639 


METROBLACK    No.  2 


with   ITALIC 


10     POINT 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC 
DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in 
it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  practical  de- 
sign. And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent  practical  fitness  to 
perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do 
exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and 
weak,  no  waste  of  material  and  no  lack  of  strength.  And,  beyond  that,  the  chair  may 
have  been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and  curves  and 
proportions:  it  may  be,  actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of  letters. 
And  your  chair,  or  your  letter  (if  a  true  artist  made  it)  will  have,  besides  its  good  looks, 
a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That  explains, 
in  a  way,  why  the  experts  rave  over  the  fine  shapes  of  letters;  but  it  fails  to  explain 
wherein  the  shapes  are  fine.  If  you  seek  to  go  further  with  the  inquiry,  theories  will  be 
your  only  answer.  Here  is  a  theory  that  the  proponent  thinks  may  have  sense  in  it:  Fine 
type  letters  were,  in  the  first  place,  copies  of  fine  written  letters.  Fine  written  letters  were 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC 
DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OYER  A 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in 
it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  practical  de- 
sign. And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent  practical  fitness  to 
perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do 
exactly  the  work  that  the  chair  has  to  dt,  neither  clumsy  and  thick,  nor  "skinny"  and 
weak,  no  waste  of  material  and  no  lack  of  strength.  And,  beyond  that,  the  chair  may 
have  been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and  curves  and 
proportions:  it  may  be,  actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of  letters. 
And  your  chair,  or  your  letter  (if  a  true  artist  made  it)  will  have,  besides  its  good  looks, 
a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That  explains, 
in  a  way,  why  the  experts  rave  over  the  fine  shapes  of  letters;  but  it  fails  to  explain 
wherein  the  shapes  are  fine.  If  you  seek  to  go  further  with  the  inquiry,  theories  will  be 
your  only  answer.  Here  is  a  theory  that  the  proponent  thinks  may  have  sense  in  it:  Fine 
type  letters  were,  in  the  first  place,  copies  of  fine  written  letters.  Fine  written  letters  were 

'III,,;    p.nnt   /,  ,;■/,,/) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ABCDEFGHIJKLMNOPQRSTUyWXYZ& 
abcdefghijklmnopqrstuvwxyz  1234567890  ($£,.:;'-'?!*t) 
abcdefghijklmnopqrstuvwxyz  1234S67890  ($£,.:;'-'?!*  f) 

Matrix  hijoytnal  ion  :  ]0A-1~6.  L(n\  er  case  alphabet.  1.^7  i)niii;s.  Kimires.  .OS.l;  ctniinia.  perind  ami  thin  sjjaLO.  i)-l]=..  Runs  in  90  chainiel  maga- 
zine. Cuie  word.  ZIKIM. 


640 


METROBLACK    No.  2 


with  ITALIC 


12     POINT 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF 
ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design.  And  what  they  see  in  a  good 
type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its  work.  It 
has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good 
tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to 
do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor 
"skinny" and  weak,  no  waste  of  material  and  no  lack  of  strength.  And, 
beyond  that,  the  chair  may  have  been  made  by  a  man  who  worked  out  in  it 
his  sense  of  fine  shapes  and  curves  and  proportions:  it  may  be,  actually,  a 
work  of  art.  The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or 
your  letter  (if  a  true  artist  made  it)  will  have,  besides  its  good  looks,  a  suit- 

ffiilir  f;ii>}l  leaded) 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF 
ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design.  And  what  they  see  in  a  good 
type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its  work.  It 
has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good 
tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to 
do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor 
"skinny"  and  weak,  no  waste  of  material  and  no  lack  of  strength.  And, 
beyond  that,  the  chair  may  have  been  made  by  a  man  who  worked  out  in  it 
his  sense  of  fine  shapes  and  curves  and  proportions:  it  may  be,  actually,  a 
work  of  art.  The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyz  1234567890  ($£,.:;'-'?!*  t) 

abcdefghijklmnopqrstuvwxyz  1234567890  ($£,.:;'-'?!*  f) 

Mnlnv  hii.nimili,;,  I  .>A-47'>.  Lower  ..iNt-  alpli.iln-l .  I(,J  points  lomin-s.  IVK.S;  ,■,  .nitii.i.  pen...!  ;iii.|  ilnii  -i..u<..  IIJS-I  Kini-  in  <«)  cli.unu-l  ni.iK.-i- 
/ine.  C.rle  w..rd.  ZIKIT. 


641 


METROBLACK    No.  2 


with   ITALIC 


14     POINT 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN 
TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MA 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  es- 
thetic design?  Why  do  the  pace-makers  in  the  art  of  printing  rave 
over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  design  is  always  prac- 
tical design.  And  what  they  see  in  a  good  type  design  is,  partly,  its 
excellent  practical  fitness  to  perform  its  work.  It  hasa"heft"and 
balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool 
has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right 
size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy 
and  thick,  nor  "skinny" and  weak,  no  waste  of  material  and  no 
lack  of  strength.  And,  beyond  that,  the  chair  may  have  been  made 

(four  point  leaded) 

HOW  IS  ONE  70  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN 
TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MA 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  es- 
thetic design?  Why  do  the  pace-makers  in  the  art  of  printing  rave 
over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  design  is  always  prac- 
tical design.  And  what  they  see  in  a  good  type  design  is,  partly,  its 
excellent  practical  fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool 
has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right 
size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy 
and  thick,  nor  "skinny"  and  weak,  no  waste  of  material  and  no 


(fottr  point  Iraded) 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUyWXYZ& 

abcdefghijklmnopqrstuvwxyz  1234567890  ($£,.:;'-'?!    t) 
abcdefghijklmnopqrstuvwxyz  1234567890  ($£„:;'-'?'*  f) 

Matrix  Information  :  14A350.  Lower  case  alphabet.  191  points.  Figures,  .1107;  comma,  period  and  thin  space.  .0553.  Runs  in  90  channel  maga- 
zine, ("ode  wurd.  ZIDOH. 


641a 


METROBLACK    No.  2 


with  ITALIC 


18     POINT,    Two-Letter 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYP 
How  can  one  assess  or  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in 
the  art  of  printing  rave  over  a  specific  face  of  type? 
What  do  they  see  in  it?  Why  is  it  so  superlatively 
pleasant  to  their  eyes?  Good  design  is  always  prac- 
tical design.  And  what  they  see  in  a  good  type  design 
is,  partly,  its  excellent  practical  fitness  to  perform 
its  work.  It  has  a  ^'heft'^and  balance  in  all  of  its  parts 

HOW  /5  ONE  TO  ASSESS  AND  EVALUATE  A  TYP 
How  can  one  assess  or  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in 
the  art  of  printing  rave  oyer  a  specific  face  of  type? 
What  do  they  see  in  it?  Why  is  it  so  superlatively 
pleasant  to  their  eyes?  Good  design  is  always  prac- 
tical design.  And  what  they  see  in  a  good  type  design 
is,  partly,  its  excellent  practical  fitness  to  perform 
its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts 


.  loin    h"iiil   l.'.ul.-.l  > 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijkimnopqrstuvwxyz  1234567890  ($,.:;'-'?!) 

abcdefghijklmnopqtstuvwxyz  7234567890  (%,.:;'-'?!} 

FOH     72    CHANNEL    MAGAZiriL 
Sl',;iiil    A"     A,    Imnve    1.    ,11117:    _'   I,,  n       I  =^JJ 

1234567890 
7234567890 

Matiiv   Iiilonuativn:  18A4fi.    l.""tT  i:i-.r  :il|.li,il..'l ,   J.i iil,.    Imuiih-s.    .1!ii;.    Kuus   hi    hi  >h;nnii>l   ni.m.i/inc.    Cnde   «..i.l.    /IDON. 


641b 


METROBLACK    No.  2 


wm 


with   ITALIC 


24     POINT,   Two-Letter 


HOW  IS  ONE  TO  ASSESS  AND  EVALU 
How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  type  face?  What  do 
they  see  in  it?  Why  is  it  so  superlatively 
pleasant  to  their  1234567890  ($,.:/-?!) 


(imn-  finni  leaded) 


HOW  IS  ONE  TO  ASSESS  AND  EVALU 
How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  type  face?  What  do 
they  see  in  it?  Why  is  it  so  superlatively 
pleasant  to  their  1234567 890  ($,.:;'''?!) 


(U'lir  t'lii'l  leaded) 


ABCDEFGHIJKLMNOPQRSTUV 
ABCDEFGHIJKLMNOPQRSTUV 

WXYZ&  abcdefghijklmnopqrstuYWxyz 
WXYZ&abcdefghijklmnopqrstuYWxyz 

Matrix  }  ujovmation  :  J-1A-*''-   Lower  case  alpliabel.   ^\\    points.    FiKurc   I.   .l.^S.I;   2  In  0.   .1937.    Runs   in   72  channel   magazine;  also  in  34  channel 
aiiNiliary  niaga/ine.  Trule  wr.r.l.  ZIDOV. 


641c 


METROLITE  & 
METROBLACK 


(■"»  LINOTYPE'-") 


Below.  Statement  set  in  24  p.>tnt  Metroljlack  No.  2  Italic.  S  and  10 
point  Metroblack  No.  2  and  Metrolite  No.  2.  Rnles:  .t  p.jinl  M.urix 
Slide  No.  134,  6  point  Matrix  Slide  No.  352.  and  6  point  .Matrix  Slide 
No.  423. 


THE  CHEF 

SUGGESTS   FOR  LUNCH  TODAY 


Split  Pea  . 
Clam  Broth 


SOUPS 

.  1  5       Yankee  Bean  . 
.  1  5       Tomato  Puree 


ENTREES 

Corned  Beef  Hash  witt^pached  Egg.  . 
Soft  Shell  Crabs  on  Tc^Pf  Cole  Slaw.  . 
Virgmia  Ham,  Spinach,  Boiled  Potato  . 
Roast  Beef,  New  Peos,  Boiled  Potato.  . 
Spani3,h  Omelette,  Home  Fried  Potatoes 
Bockwijrst,  Red  Cabbage,  Boiled  Potato 


cl^i 


.15 
.15 


.35 
.45 
.45 
.40 
.35 
.35 


MincW"ongue  Sandwich  with 


^' 


Slaw    .25 


Ice  Cream    . 

Apple  Pie 10 


DESSERTS 

.    .10       Baked  Apple  . 


Fruit  Salad 


Coffee 


10     Milk 


10     Tea  (pot)    .15 


THE   GRILL   ROOM    •    HOTEL   BOND 


BOATS,  INC. 


MARINE    RAILWAY  BOATS     •     ENGINES     •     MARINE   SUPPLIES     •    TACKLE 

GREENPORT,  LONG    ISLAND 

To 


Greenport,  L.  I.,  N.  Y. 


19 


Above:  Daily  Menu  set  in  30, 
in  and  8  point  Metroblack 
.No.  2  and  8  point  Metrolite 
No.  2.  Rules:  2  point  Matrix 
Slide  No.  405  and  5  point 
Matrix  Slide  No.  408. 


Below:  Announcement  set  in 
12  and  14  p.iint  Metroblack 
No.  2  and  6  point  Metroblack 
No.  2  and  Metrolite  No.  2. 
Rule:  6  point  Matrix  Slide 
No.  356. 


FRAGONARD 

234   OPERA    HOUSE    PLAZA 

We  call  particular  attention 
to  our  new  "End  Curl  Permo- 
nent,"  complete,  of  course, 
with  finger  wave  ond  sham- 
poo. A  bargain  at  only  $4.00 
Haircut  .  .60  Manicure  .35 
Eyebrows     .35     Facial    ...  .75 

WAVERLY    3-6789 

BEAUTY  SALON 


METROLITE    No.  2 


with  MET  ROB  LACK   No.  2 


COMPARISON   OF   SIZES 

6  Point  (6A442)  Lower  CT^e  alphabet,  94  points.  Figures.  .0??3 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of  pri  1  234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  Its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of  pri  1234 

8  Point  (8A?-<ii  Lower  case  alplialiet.  108  points.  Figures,  .0692 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  1  234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  1234 

10  Point   noA-l.'^-'l  Lower  ci^e  alplialiet.  137  points,   I'lcures.  .083 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Wh  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Wh  1234 

]2  Point   (1JA49JI  Lower  case  alphabet.  16.!  points.   Figures.  .0968 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  ternnsof  its  esthetic  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  1234 

14  Point  n4A3.^X)  I.iiwer  case  alphabet.  190  points.  Figures.  .1107 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  ternns  of  i  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  i  1234 

18  Point.  'i'wo-Lettcr   I1S.A741  Lower  case  aliihabet.  J36  points.  Figures.  .1107 

HOW  IS  one  to  assess  and  evaluate  a  type  face  in  1 12 
HOW  IS  one  to  assess  and  evaluaf-e  a  type  face  in  1 12 


18  I'niitt  .Metrnlite  No.  J,  Une-Letter  n8A331) 


Lower  case  alphabet,  233  points.  Figures,  .1107 


HOW  IS  one  to  assess  and  evaluate  a  type  face  in  1 12 

24  Point  Metrc.hte  No.  2,  One- Letter   (24A2.S3)  Louer  cise  alphal)et.  31i,  points.  Figure  I.  .1245:  2  to  0.  .1937 

HOW  I S  one  to  assess  and  eva I  uate  a  1 1 2 

30  Point  .Melrolite  No.  2.  (30A211I  Lower  case  alphaliet,  390  points.  Figure  1.  .166;  2  to  0.  .249 

HOW  IS  one  to  assess  and  e  12 

36  Point  Metrolite  No.  2  (36A117I  Lower  case  alphabet.  466  points.  Figure  1.  .1937:  2  to  0.  .2906 

HOW  IS  one  to  assess  a  12 


-(  °  LINOTYPE""  >■ 


LIST   OF   CHARACTERS   AVAILABLE    IN    TWO-LETTER    FONTS 

ABCDEFGH I J  KLMNOPQRSTU  VWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

12345        abcdefghijklmnopqrstuvwxyz        67890 
12345        abcdefghijklmnopqrstuvwxyz        67890 

$£,.:;'-?!-— /Edaece        .  .  .  ()*t1:§11[]@  tb  % 
$£,.:;'-?!— ^EOEaeoe.  .  .         ()*t1:§1I[]@tB  % 

VbVaVbV^VzVaVz 

ALTERNATIVE    CHARACTERS 
These  characters,  in  Metmlite  with  Melrul)lack.  may  be  sulistiliited  it>r  those  shown  ahuve  and  regularly  supplied. 


We 


AGJ  M  N  VV\/agvw,  ;  '  ' 


Special  No.  1  Twu-Lcttcr:   .'Special   No.   6, 

One-Lcttcr  Metrolite:  18A235.  24A269,  30A197.  .i6A105. 


642 


METROLITE    No.  2 


with  MET  ROB  LACK    No.  2 


6     POINT 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN 
TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MA 
How  is  one  to  ossess  and  evaluate  a  type  face  in  terms  of  its 
esthetic  design?  Why  do  the  pace-makers  in  the  art  of  print- 
ing rave  over  a  specific  face  of  type?  What  do  they  see  in  if? 
Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design 
is  always  practical  design.  And  what  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fitness  to  perform  its 
work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right 
for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of 
its  parts  made  nicely  to  the  right  size  to  do  exactly  the  work 
that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor 
"skinny"  and  weak,  no  waste  of  material  and  no  lack  of 
strength.  And,  beyond  that,  the  chair  may  have  been  made 
by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and 
curves  and  proportions:  it  may  be,  actually,  a  work  of  art. 
The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or 
your  letter  (if  a  true  artist  made  it)  will  hove,  besides  its  good 
looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped 
on  paper  and  read.  That  explains,  in  a  way,  why  the  experts 
rave  over  the  fine  shapes  of  letters;  but  it  fails  to  explain 
wherein  the  shapes  are  fine.  If  you  seek  to  go  further  with 
the  inquiry,  theories  will  be  your  only  answer.  Here  is  a  theory 
that  the  proponent  thinks  may  have  sense  in  it:  Fine  type  let- 

(/TtV   fol 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
abcdefghijklmnopqrstuvwxyz  1234567890  ($£,.:;'-'?!* t) 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN 
TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MA 
How  is  one  to  assess  and  evaluate  a  type  foce  in  terms  of  its 
esthetic  design?  Why  do  the  pace-makers  in  the  art  of  print- 
ing rave  over  a  specific  face  of  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design 
IS  always  practical  design.  And  what  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fitness  to  perform  its 
work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right 
for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of 
its  parts  made  nicely  to  the  right  size  to  do  exactly  the  work 
that  the  chair  has  to  do,  neither  clumsy  ond  thick,  nor 
"skinny"  and  weak,  no  waste  of  material  and  no  lock  of 
strength.  And,  beyond  that,  the  chair  may  hove  been  made 
by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and 
curves  and  proportions:  it  may  be,  octuolly,  a  work  of  art. 
The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or 
your  letter  (if  a  true  artist  made  it)  will  have,  besides  its  good 
looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped 
on  paper  and  read.  That  explains,  in  a  way,  why  the  experts 
rave  over  the  fine  shapes  of  letters;  but  it  fails  to  explain 
wherein  the  shapes  are  fine.  If  you  seek  to  go  further  with 
the  inquiry,  theories  will  be  your  only  answer.  Here  is  a  theory 
that  the  proponent  thinks  may  hove  sense  in  it:  Fine  type  let- 
nt  l,a,l..h 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
abcdefghijklmnopqrstuvwxyz  1234567890  ($£,.:;'-'?!* t) 


Matrix  Information :  6A442.  Lower  case  alphabet.  'M  pniiits.  l-iuures. 
zine.  Code  \V(jrd.  ZINFI.  (The  matrices  of  this  face  have  .i  liori/mital 
combination.  .Metroblack  No.  J  with  .Metrolite  No.  2.) 


iiiiiia.   period  and   thin   space.   .0277.    Runs  in  91)  ch.miiel   inaga- 
tlie  reference  character  to  distinguish  them  from  the  reverse 


-(.LINOTYPE     > 


8     POINT 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  F 
IN  TERMS  OF  ITS  ESTHETIC  DESIGN.?  WHY  DO  THE 
How  is  one  to  assess  arid  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to 
their  eyes?  Good  design  is  always  practical  design.  And 
what  they  see  in  a  good  type  design  is,  partly,  its  ex- 
cellent practical  fitness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good  chair  has  all  of 
its  parts  made  nicely  to  the  right  size  to  do  exactly 
the  work  that  the  chair  has  to  do,  neither  clumsy  and 
thick,  nor  "skinny"  and  weak,  no  waste  of  material 
and  no  lock  of  strength.  And,  beyond  that,  the  chair 
may  have  been  mode  by  a  man  who  worked  out  in  it 
his  sense  of  fine  shapes  and  curves  and  proportions:  it 
may  be,  actually,  a  work  of  art.  The  same  thing  holds 
for  shapes  of  letters.  And  your  choir,  or  your  letter  (if 
a  true  artist  made  it)  will  have,  besides  its  good  looks, 
0  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyz  I  234567890 

($£,.:;'-'?!*  t) 

Matrix  Injorination  :  8A5JO.  Lower  case  all)hahet.  lOH  points,  l■■i^nrcs. 
zine.  t'ode  word.  ZIL.W.  (The  matrices  of  this  face  h.avc  a  hoii.-oiit.il 
combination,  Metroblack  No.  2  with   IMetrolite  No.  2.) 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  F 
IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to 
their  eyes?  Good  design  is  always  practical  design.  And 
what  they  see  in  a  good  type  design  is,  partly,  its  ex- 
cellent practical  fitness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good  chair  has  all  of 
its  ports  made  nicely  to  the  right  size  to  do  exactly 
the  work  that  the  chair  has  to  do,  neither  clumsy  and 
thick,  nor  "skinny"  and  weak,  no  waste  of  material 
and  no  lack  of  strength.  And,  beyond  that,  the  chair 
may  have  been  made  by  a  man  who  worked  out  in  it 
his  sense  of  fine  shapes  and  curves  and  proportions:  it 
may  be,  actually,  a  work  of  art.  The  same  thing  holds 
tor  shapes  of  letters.  And  your  choir,  or  your  letter  (if 
a  true  artist  made  it)  will  hove,  besides  its  good  looks, 
a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
abcdefghijklmnopqrstuvwxyz  1  234567890 

($£,.:;'-'?!*  t) 


id  and  lliin  sp; 
nee  cll.ir.nler  t 


(l.Ht,.  Kiins  in  '«!  channel  maga- 
stiiiKtiish   them   from   the  reverse 


643 


METROLITE    No.  2 


with  MET  ROB  LACK    No.  2 


10     POINT 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC 
DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in 
it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  practical  de- 
sign. And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent  practical  fitness  to 
perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do 
exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and 
weak,  no  waste  of  material  and  no  lack  of  strength.  And,  beyond  that,  the  chair  may 
have  been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and  curves  and 
proportions:  it  may  be,  actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of  letters. 
And  your  chair,  or  your  letter  (if  a  true  artist  made  it)  will  have,  besides  its  good  looks, 
a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That  explains, 
in  a  way,  why  the  experts  rave  over  the  fine  shapes  of  letters;  but  it  fails  to  explain 
wherein  the  shapes  are  fine.  If  you  seek  to  go  further  with  the  inquiry,  theories  will  be 
your  only  answer.  Here  is  a  theory  that  the  proponent  thinks  may  have  sense  in  it:  Fine 
type  letters  were,  in  the  first  place,  copies  of  fine  written  letters.  Fine  written  letters  were 

'  linn-  ffniil  Icadrd  I 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC 
DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in 
it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  practical  de- 
sign. And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent  practical  fitness  to 
perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do 
exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and 
weak,  no  waste  of  material  and  no  lacK  of  strength.  And,  beyond  that,  the  chair  may 
have  been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and  curves  and 
proportions:  it  may  be,  actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of  letters. 
And  your  chair,  or  your  letter  (if  a  true  artist  made  it)  will  have,  besides  its  good  looks, 
a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That  explains, 
in  a  way,  why  the  experts  rave  over  the  fine  shapes  of  letters;  but  it  fails  to  explain 
wherein  the  shapes  are  fine.  If  you  seek  to  go  further  with  the  inquiry,  theories  will  be 
your  only  answer.  Here  is  a  theory  that  the  proponent  thinks  may  have  sense  in  it:  Fine 
type  letters  were,  in  the  first  place,  copies  of  fine  written  letters.  Fine  written  letters  were 

ABCDEFGH IJ  KLMNOPQRSTUVWXYZ& 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
abcdefghijklmnopqrstuvwxyz  1234567890  ($£,.:;'-'?!*  t) 
abcdefghijklmnopqrstuvwxyz  1234567890  ($£,.:;'-'?!*  t) 

Matrix  Information  :  10A48J.  Lt.wer  L.ise  alphabet.  137  points.  Figurts.  .(iSj;  i.<niiina.  pcnnd  and  Iliin  space,  .0-41=i.  Runs  in  90  channel  maga- 
zine. Code  word,  ZILBE.  (The  matrices  of  this  face  have  a  horizontal  line  over  the  reference  character  to  distinguish  them  from  the  reverse 
conihinatiun.  Metroblack  No.  2  with  Metrolite  No.  2.) 


644 


METROLITE    No.  2 


,  «PL, 


with  METROBLACK    No.  2 


12     POINT 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF 
ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design.  And  what  they  see  in  a  good 
type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its  work.  It 
has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good 
tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to 
do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor 
"skinny"  and  weak,  no  waste  of  material  and  no  lack  of  strength.  And, 
beyond  that,  the  chair  may  have  been  made  by  a  man  who  worked  out  in  it 
his  sense  of  fine  shapes  and  curves  and  proportions:  it  may  be,  actually,  a 
work  of  art.  The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or 

lf,':,r  f;,iiil   Ir.nlril  ' 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF 
ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design.  And  what  they  see  in  a  good 
type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its  work.  It 
has  a  ''heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good 
tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to 
do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor 
"skinny"  and  weak,  no  waste  of  material  and  no  lack  of  strength.  And, 
beyond  that,  the  chair  may  have  been  made  by  a  man  who  worked  out  in  it 
his  sense  of  fine  shapes  and  curves  and  proportions:  it  may  be,  actually,  a 
work  of  art.  The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or 

ABCDEFGH I J  KLMNOPQRSTU  VWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyz  1234567890  ($£,.:;'-'?!*!) 
abcdefghijklmnopqrstuvwxyz  1234567890  ($£,.:;'-?!*!) 

Maliix  hiuniu.iln'i,  \2M'i2  I  ow..,-  ,.isf  .ilph.il.i-t.  ir,l  ,„,i,iis  Imkiit.-^,  iI'<.,S;  ,.,.„,,i:l,  ;„ti..,I  .111(1  linn  siluc.  ,IH.«-),  Rims  iii  'Jll  cli..iiiiel  iu.-ik..- 
/im-,  I  c.ilc  nor. I.  ZII.CI,  ("I  lie  llKilriii-v  .,i  lllis  l:icc  ll.ur  ,i  liui  1/..11I.1I  line  nv.-i  llu-  i  ,-lfn-iirc  Jl.ir.iLlcr  to  dlst  limil  isli  tlipiii  lioiii  tin-  rev.-rse 
cMiiil,iii.ilHiii.   .Mfli-..lil.-|.k  .\...  2  «itli   Mclr.iiilf  .\.i.  J.) 


645 


METROLITE    No.  2 


with  METROBLACK   No.  2 


14     POINT 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN 
TERMS  OF  ITS  ESTHETIC  DESIGN;^  WHY  DO  THE  PACE-MA 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  es- 
thetic design?  Why  do  the  pace-makers  in  the  art  of  printing  rave 
over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  design  is  always  prac- 
tical design.  And  what  they  see  in  a  good  type  design  is,  partly,  its 
excellent  practical  fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool 
has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right 
size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy 
and  thick,  nor  "skinny"  and  weak,  no  waste  of  material  and  no 
lack  of  strength.  And,  beyond  that,  thechair  may  have  been  made 

I  lour  l',:n,t   lru,lr,ll 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN 
TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MA 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  es- 
thetic design?  Why  do  the  pace-makers  in  the  art  of  printing  rave 
over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  design  is  always  prac- 
tical design.  And  what  they  see  in  a  good  type  design  is,  partly,  its 
excellent  practical  fitness  to  perform  its  work.  It  has  a  "heff  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool 
has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right 
size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy 
and  thick,  nor  "skinny"  and  weak,  no  waste  of  material  and  no 

n,nn    p,.inl  hndedl 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyz  1234567890  ($£,.:;'-?!*t) 

abcdefghijklmnopqrstuvwxyz  1234567890  ($£,.:;'-'?!*  t) 

Matn.v  Iiiji'i-ijiatiou :  14A-58.  Lower  case  alphabet,  190  points.  Figures,  .1107;  coniina.  period  and  thin  spa^e,  .(IS?3.  Runs  in  90  channel  maga- 
zine, ("ode  word,  ZILDO.  (The  matrices  of  this  face  have  a  horizontal  line  over  the  reference  character  to  distinguish  them  from  the  reverse 
combination,  Metroblack  No.  2  with  Metrolite  No,  2.) 


646 


METROLITE    No.  2 


*/;;*/ 


with  METROBLACK    No.  2 


18     POINT,    Two-Letter 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYP 
How  can  one  assess  or  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in 
the  art  of  printing  rave  over  a  specific  face  of  type? 
What  do  they  see  in  it?  Why  is  it  so  superlatively 
pleasant  to  their  eyes?  Good  design  is  always  prac- 
tical design.  And  what  they  see  in  a  good  type  design 
is,  partly,  its  excellent  practical  fitness  to  perform 
its  work.  It  has  a  ''heft''  and  balance  in  all  of  its  parts 
just  right  for  its  size,  as  any  good  tool  has.  Your  good 


()..»<    p,;i,l  h;Hl,;li 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYP 
How  can  one  assess  or  evaluat-e  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in 
the  art  of  printing  rave  over  a  specific  face  of  type? 
What  do  they  see  in  it?  Why  is  it  so  superlatively 
pleasant  to  their  eyes?  Good  design  is  always  prac- 
tical design.  And  what  they  see  in  a  good  type  design 
is,  partly,  its  excellent  practical  fitness  to  perform 
its  work.  It  has  a  ''heft'^  and  balance  in  all  of  its  parts 
just  right  for  its  size,  as  any  good  tool  has.  Your  good 


I  I,,;/.    l«'Uil  had,  J  I 


ABCDEFGH I J  KLMNOPQRSTUVWXYZ& 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyz  1234567890  ($,.:;'-?!) 

obcdefghijklmnopqrstuvwxyz  1234567890  ($,.:;'-'?!) 

Matrix  Inlormatiun:  18A74.   I.nwer  case  allihalifl .   2M'  p.. nits,    I'mun-s.   .Il(i7,    Kiins   in  'lO  diaiincl   iii.iK.i/im-.    I  .,il<-   u.,r,l.    /Illl'.   Also  avail- 
able as  Metroblack  No.  2  with  Metrolite  No.  2   (18     8). 


647 


647  a 


METRO 


LITE    No.  2 


18     POINT,   One-Letter 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  ATYP 
How  can  one  assess  or  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in 
the  art  of  printing  rave  over  a  specific  face  of  type? 
What  do  they  see  in  it?  Why  is  it  so  superlatively 
pleasant  to  their  eyes?  Good  de  1234567890 ($,.:/-?!) 


I  tour  l^oint  leaded  I 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
abcdefghijklmnopqrstuvwxyz 

FOR     72    CHANNEL    MAGAZINE 
Metrolitf  N...  2  llXA.l.ll)  Metn.litc  IKSA^.l.')  Alleiniiti-.-e  I'-uiures:  Gotliic  No.  -40  (lgA375) 

MW       MW1234567890$()      1234567890 

Speci.-.l  Nil.  7  Special  Nf..  7.  Figure  1.  .1245;  2  tn  0.  .1522  Figure  1.  .0968;  1  to  0.  .1,18,1.  Code  word.  ZELEB. 

Matii.v  liil,nii,ati,.ii :  18A331.  Lower  .:ise  alpliabet.  233  in.ints.  Figures,  .1107.  Runs  in  90  channel  magazine.  Code  word.  ZACUR.  Also  avail- 
able in  two-letter  matrices  as  Metrolite  No.  2  with  Metroblack  No.  2  (  18A74)  ;  Metroblack  No.  2  with  MetroHte  No.  2  (  18A8) ; 
Metrolite  No.  2  with  Italic  (  18A50). 


-(' '°  LINOTYPE""»> 


24     POINT,    One-Letter 


HOW  IS  ONE  TO  ASSESS  AND  EVAL 
How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing 
rave  over  a  speci  1234567890($,:/-?!) 

(four  puinl  leaded) 

ABCDEFGHIJKLMNOPQRSTUVW 
XYZ&  abcdefghijklmnopqrstuvwxyz 

Altei  luitree  l-iyines  .  OuWiiL    N.i    4"   (_'-IA^17l    Fi^-ure  1  .  ,  1  1 117  ;    .'  I.,  (l.  ,  I /'AS.  Code  word.  ZELEU. 

1234567890 

Matrix  !i:lnrnwtioii  :  24A283.  Li>wer  case  alphabet.  ,116  p..itit„,  Fiuure  I.  .124S:  2  to  0.  .1937.  Rinis  in  72  clianiiel  magazine:  also  in  34  channel 
auxiliary  tnagazine.  Code  word.  ZAIU'E.  Also  available  in  two-letter  matrices  as  Metroblack  No.  2  with  Metrolite  No.  2  (24,a8); 
Metrolite  No.  2  with  Italic  (24A50). 


METRO 


'r"/   I      LITE    No.  2 


30     POINT 


How  is  one  to  assess  and  evalu- 
ateanytyabcdefghijklmnopqrs 
tuvwxyz  1234567890  ($,.:/-?!) 


(  six  f.iiiil  Irudi-d) 


ABCDEFGHIJKLMNOPQR 
STUVWXYZ& 

Altey,uih:'c  I-i,hu,-s     In.thii    \m.  W  (  ioA-MI  1    I'lKuif  I.  ,  1  i.v  i .  _'  to  (I.  ,j_'l  i.  I  nde    u.ir.l.  ZKLEN. 

1234567890 

Matiiv  hilonmifi")!  :  JOA-H-   l.uwt-r  case  alphabet.  .VH)  pniiits.   l-iKine  1.  .If.''.:  2  l.i  D.  ,2A'.>.   \<uu^  in  Wule  7_'  cliaiuifl  ina^a/lne;  also  lower  case 
ill  cap  clianiiels  of  72  channel  niaga/ine  with  caps  and  tigures  in  Wide  .H  channel  auxiliary  maKa/ine.  Code  word.  ZADEH. 


-(LINOTYPE     > 

36    POINT 


How  is  one  to  evaluate  and 
to  bcdefghijklmnopqrstuv 
wxyz  1234567890  ($./-?!) 


(u.t-  f.nnt  li-aJrd) 


ABCDEFGHIJKLMNOPQ 
RSTUVWXYZ& 

Alti-,iHilr.-r  fi.nii,^     (l.illiu    No    -III  l  i(,AHl)    l-iKure  I.  .IM.;  -'  t..  n.  ,.'f,JO,  (  ,,,1,.  «onl.  /KKAZ. 

1234567890 

M,ihi.v  lui.ninntuni     .WAII?.  I. ewer  i:is.-  .■.Ipli;il)t-t,  4M.  p,.nils     l-iuiiii-  1.     I'H7:  J  to  0.  .J>l(l(,.   Rinis  iii  Wi.lc  .U  ili.unu-l  .uivili.n  v  iii.i«,i/im- :  als^ 
lower  r:iM-  ni  ,  ap  >li.nnu-l-  ol   Wide  7_'  .iKuinel  iiiaga/iiie.   Co.ie  «..r.l.   /.MHIA, 


647  b 


APL 

METRO 


LITE    No.  2 


■12  I'uiiit  (4.'AH)05)  Lower  case  alphabet.  541  poiiits.  Tnde  wuril.  Z.ANI.A. 


DODGERS  TRIMMED 

By  Bees  in  2  games  on 
their  home  field  today 


48  I'uillt   (4HA1005)   l.uwer  case  aliiliahet.  (',24  points.  Code  word.  ZANME. 


FOUR  CHAIRMEN 
Have  39  groups  on 


f)U  Poinl  (OOAIOO.^I  Lower  case  alpl.abel.  781  points.  Code  word.  ZANNI 


RAILS  DROP  7 

Points  and  gain 


72  Point  (72A1U(),=.)  Lower  case  alphabet,  94J  i.oinls.  Code  word.  ZA.MJB. 


METALS  UP 

n  the  early  5 


All-Purpose  Linotype  matrices  are  also  available  in  6, 8,  10,  12,  14,  18, 24, 30  and  36  point  sizes. 

647  c 


METRO 


APL 

LITE   No.  2 


'mmiJjM 


84  I'oiiU    (84A100nl  Caps.  Fimircs  ami   IV.iiU^  ..iily.  I  ,,ik-  wmtl.  ZIIIUI, 


GIVES  THIS 
SAND  Tl  P  4 


96  Pniiit  (96A1005)  Caps.  FiKint-.  and  I'niiils  .inlv    (  ..ilt-  u..i.l.  ZKHIS. 


SIX  FOR  5 


120  I'liint    I  IJOAlOd^l   (  aps.   Figures  and  I'ciiitv  ..iily    (  oilr  «.iid,  ZKIUV. 


NEST  16 


144  I'oiiit   (144AIIW5)  (  aps.  FiHiirt-,  and  l^.int^  ..iily.  ('.«if  u..r<i.  /FUJI', 


RIB  IN  8 


647  d 


METROLITE    No.  2 


with   ITALIC 


COMPARISON   OF   SIZES 

6  Point  l^A-436)  I.ower  case  alphabet.  94  points.  Fieiires.  .O.S.S.l 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  In  terms  of  Its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of  pri  1234 
HOW  IS  ONE  to  ossess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of  pri  1234 

8  ]'oint  (.XASIfi)  Lower  case  alphahct.  108  points.  Figures,  .0692 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  i  1  234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Whiy  do  the  pace-makers  i  1234 

10  Point  llliA4r8)  Power  case  alpliabet,  135  points.  Figures.  .08.1 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  1  234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  1234 

12  Point  (12A478)  Power  case  alphabet.  160  points.  Figures.  .0968 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  d  1 234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  d  1 234 

14  Point  (14A-56)  Lower  case  alphabet.  187  points.  Figures,  .1107 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  ternnsof  it  1234 
HOW  IS  ONE  to  ossess  ond  evoluote  o  type  foce  in  terms  of  it  1234 

in  Point,    i  w..-Pettci    I  ISASm  Lower  case  alphabet.  2^2  points.   Figures.  .1107 

HOW  IS  one  to  assess  and  evaluate  a  type  face  in  te  12 
HOW  IS  one  to  assess  and  evaluate  a  type  face  in  te  12 

24  Point.  Two-Leltcr  (24A50)  Lower  case  alphabet.  303  points.  Figure  1,  .1383;  2  to  0,  .1937 

HOW  IS  one  to  assess  and  evaluate  a  1 12 
HOW  IS  one  to  assess  ond  evoluote  otl2 


-C     LINOTYPE  ■■> 


LIST   OF    CHARACTERS   AVAILABLE    IN    TWO-LETTER    FONTS 

ABCDEFGHiJKLMNOPQRSTUVWXYZ& 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

12345         abcdefghijklmnopqrstuvwxyz         67890 

12345         abcdefghijklmnopqrstuvwxyz         67890 

$£,.:;'-'?!-— /ECEaeoe         .  .  .()n*§n]@tb% 
$£,.:;'-'?!-— /ECE^cs.  .  .         (rft§n]@m% 

VaVAyaViyaVAVs 
VBV4VSV2V8V4VS 

ALTERNATIVE    CHARACTERS 
These  characters,  in  MetroHte  with  Italic,  may  be  stilistitiited  for  those  shown  above  .uul  regularly  supplied. 

We  ACJ  M  N  VWagvw,  ;'  * 

Special  No.  1  Special  No.  6 


648 


METROLITE    No.  2 


With   ITALIC 


6     POINT 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN 
TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MA 
How  IS  one  to  assess  and  evaluate  a  type  face  m  terms  of  its 
esthetic  design?  Why  do  the  pace-makers  in  the  art  of  print- 
ing rave  over  a  specific  face  of  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design 
is  always  practical  design.  And  what  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fitness  to  perform  its 
work.  It  has  a  "heft"  and  bolance  in  all  of  its  parts  just  right 
for  its  size,  as  any  good  tool  has.  Your  good  chair  hos  oil  of 
its  parts  made  nicely  to  the  right  size  to  do  exactly  the  work 
that  the  choir  has  to  do,  neither  clumsy  and  thick,  nor 
"skinny"  and  weak,  no  waste  of  material  and  no  lack  of 
strength.  And,  beyond  that,  the  choir  may  have  been  made 
by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and 
curves  and  proportions:  it  may  be,  actually,  a  work  of  art. 
The  same  thing  holds  for  shapes  of  letters.  And  your  choir,  or 
your  letter  (if  a  true  artist  mode  it)  will  have,  besides  its  good 
looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped 
on  paper  and  read.  That  explains,  in  o  way,  why  the  experts 
rove  over  the  fine  shapes  of  letters;  but  it  fails  to  explain 
wherein  the  shapes  ore  fine.  If  you  seek  to  go  further  with 
the  inquiry,  theories  will  be  your  only  answer.  Here  is  a  theory 
that  the  proponent  thinks  may  have  sense  in  it:  Fine  type  let- 
ters were,  in  the  first  place,  copies  of  fine  written  letters.  Fine 

I  lU'ti   /•111 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
abcdefghijklmnopqrstuvwxyz  1234567890  ($£,.:;'-'?!*  t) 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN 
TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MA 
How  IS  one  to  ossess  and  evaluate  a  type  face  in  terms  of  its 
esthetic  design?  Why  do  the  pace-makers  in  the  art  of  print- 
ing rave  over  a  specific  face  of  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design 
is  always  practical  design.  ,4nd  what  they  see  in  a  good  type 
des/gn  is,  partly,  its  excellent  practical  fitness  to  perform  its 
work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right 
for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of 
its  parts  made  nicely  to  the  right  size  to  do  exactly  the  work 
that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor 
"skinny"  and  weak,  no  waste  of  material  and  no  lack  of 
strength.  And,  beyond  that,  the  chair  may  have  been  made 
by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and 
curves  and  proportions:  it  may  be,  actually,  a  work  of  art. 
The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or 
your  letter  (if  a  true  artist  made  it)  will  have,  besides  its  good 
looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped 
on  paper  and  read.  That  explains,  in  a  way,  why  the  experts 
rave  over  the  fine  shapes  of  letters;  but  it  fails  to  explain 
wherein  the  shapes  are  fine.  If  you  seek  to  go  further  with 
the  inquiry,  theories  will  be  your  only  answer.  Here  /s  a  theory 
that  the  proponent  thinks  may  have  sense  in  it:  Fine  type  let- 
ters were,  in  the  first  place,  copies  of  fine  written  letters.  Fine 

1 1  Iciuir.ll 

ABCDEFCHIJKLMNOPQRSTUVWXYZ& 
abcdefghijklmnopqrstuvwxyz  1234567890  ($£,:;'-'?!* f) 


.Matii-v  luUniinttuju     i<l\A?,f).  Lower 
ziiie.  Code  w.ird.  ZIKIZ. 


alphabet,  94  puiiit^.    I-'isiires,   .05.^.1; 


period  and  thin  space.  .Mill.   Runs  in  *>U  cllaiinel  inaga- 


■<     LINOTYPE"  ■')- 


8     POINT 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  F 
IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to 
their  eyes?  Good  design  is  always  practical  design.  And 
what  they  see  in  a  good  type  design  is,  partly,  its  ex- 
cellent practical  fitness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good  chair  has  all  of 
its  parts  made  nicely  to  the  right  size  to  do  exactly 
the  work  that  the  chair  has  to  do,  neither  clumsy  and 
thick,  nor  "skinny"  and  weak,  no  waste  of  material 
and  no  lack  of  strength.  And,  beyond  that,  the  chair 
may  have  been  made  by  a  man  who  worked  out  in  it 
his  sense  of  fine  shapes  and  curves  and  proportions:  it 
may  be,  actually,  a  work  of  art.  The  same  thing  holds 
for  shapes  of  letters.  And  your  chair,  or  your  letter  (if 
a  true  artist  made  it)  will  have,  besides  its  good  looks, 
a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped 

(Cr..  I'.'i 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
abcdefghijklmnopqrstuvwxyz  I  234567890 

($£,.;,'-?!*t) 

Lnwer  ..i^,-  alpliai.rt.    IDXiimiiiIs.    1-ii;mtc.>. 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  F 
IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE 
How  is  one  to  ossess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to 
their  eyes?  Good  design  is  always  practical  design.  And 
what  they  see  in  a  good  type  design  is,  partly,  its  ex- 
cellent practical  fitness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good  chair  has  all  of 
its  parts  made  nicely  to  the  right  size  to  do  exactly 
the  work  that  the  chair  has  to  do,  neither  clumsy  and 
thick,  nor  "skinny"  and  weak,  no  waste  of  material 
and  no  lack  of  strength.  And,  beyond  that,  the  chair 
may  have  been  made  by  a  man  who  worked  out  in  it 
his  sense  of  fine  shapes  and  curves  and  proportions:  it 
may  be,  actually,  a  work  of  art.  The  same  thing  holds 
for  shapes  of  letters.  And  your  chair,  or  your  letter  (if 
a  true  artist  made  it)  will  have,  besides  its  good  looks, 
a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped 

U   I, ■,1,1, -ill 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
abcdefghijklmnopqrstuvwxyz  1  234567890 

($£,.:;'-'?!^t) 


Molii.v  hilii 
/me.  t<.de  v 


i,i,:l„»,     SAI 
)i(l.  ZIK.lO. 


649 


METROLITE    No.  2 


with   ITALIC 


10     POINT 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC 
DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SP 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent  practical  fitness  to  perform 
its  work.  It  has  a  "heft" and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good 
tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly  the 
work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny"and  weak,  no  waste 
of  material  and  no  lack  of  strength.  And,  beyond  that,  the  chair  may  hove  been  made  by 
a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and  curves  and  proportions:  it  may  be, 
actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or  your 
letter  (if  a  true  artist  mode  it)  will  have,  besides  its  good  looks,  a  suitability  to  the  nth 
degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That  explains,  in  a  way,  why  the  experts 
rave  over  the  fine  shapes  of  letters;  but  it  foils  to  explain  wherein  the  shapes  ore  fine.  If 
you  seek  to  go  further  with  the  inquiry,  theories  will  be  your  only  answer.  Here  is  a  theory 
that  the  proponent  thinks  may  have  sense  in  it:  Fine  type  letters  were,  in  the  first  place, 
copies  of  fine  written  letters.  Fine  written  letters  were  fine  because  they  were  produced  in 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC 
DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SP 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent  practical  fitness  to  perform 
its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good 
tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly  the 
work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste 
of  material  and  no  lack  of  strength.  And,  beyond  that,  the  chair  may  have  been  made  by 
a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and  curves  and  proportions:  it  may  be, 
actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or  your 
letter  (if  a  true  artist  made  it)  will  have,  besides  its  good  looks,  a  suitability  to  the  nth 
degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That  explains,  in  a  way,  why  the  experts 
rave  over  the  fine  shapes  of  letters;  but  it  fails  to  explain  wherein  the  shapes  are  fine.  If 
you  seek  to  go  further  with  the  inquiry,  theories  will  be  your  only  answer.  Here  is  a  theory 
that  the  proponent  thinks  may  have  sense  in  it:  Fine  type  letters  were,  in  the  first  place, 
copies  of  fine  written  letters.  Fine  written  letters  were  fine  because  they  were  produced  in 

<llii,-,-  point  lead,,!  > 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
abcdefghijklmnopqrstuvwxyz  1  234567890  ($£,.:;'-'?!*  t) 
abcdefghijklmnopqrstuvwxyz  1234567890  ($£,.:;'-'?!*  f) 

Matrix  Information :  10A478.  Lower  case  alplialiet,  1,35  points.  Figures.  .OS,'?:  comma,  period  and  tliin  sp.Tce.  .041,5.  Rnns  in  90  channel  maga- 
zine. C.de  word.  ZIKKU.  • 


650 


METROLITE    No.  2 


with   ITALIC 


12     POINT 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  I 
ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRIN 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes? 
Good  design  is  always  practical  design.  And  v/hat  they  see  in  a  good  type  de- 
sign is,  partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has. 
Your  good  chair  has  all  of  its  ports  made  nicely  to  the  right  size  to  do  exactly 
the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny" 
and  weak,  no  waste  of  material  and  no  lack  of  strength.  And,  beyond  that, 
the  chair  may  have  been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine 
shapes  and  curves  and  proportions:  it  may  be,  actually,  a  work  of  art.  The 
same  thing  holds  for  shapes  of  letters.  And  your  choir,  or  your  letter  (if  a  true 
artist  made  it)  will  have,  besides  its  good  looks,  a  suitability  to  the  nth  degree 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  I 
ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRIN 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes? 
Good  design  is  always  practical  design.  And  what  they  see  in  a  good  type  de- 
sign is,  partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has. 
Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly 
the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny" 
and  weak,  no  waste  of  material  and  no  lack  of  strength.  And,  beyond  that, 
the  chair  may  have  been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine 
shapes  and  curves  and  proportions:  it  may  be,  actually,  a  work  of  art.  The 
same  thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  letter  (if  a  true 

I  four  point  Iriiil.-iH 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzl  234567890  ($£,.:;'-'?!n) 
abcdefghijklmnopqrstuvwxyz  1 234567890 ($£,.:;'-'?!*  f) 

\hitiir  hiloi  i,i„li,,ii  l_'A47X.  I.nufi-  (a-.f  .ilpli.-ilict.  K.n  pMiiits.  I'lmires.  II'K.S:  ,miiiii.i.  pt-ncid  .111. 1  tlnn  -.|.;i.>-,  ,ii-IN-4,  Kiins  111  ■111  cli.iiuipl  iii.ii;:!- 
ziiie.  (  .1,1c  vM.r.l.  ZIKI  A 


651 


METROLITE    No.  2 


with   ITALIC 


14     POINT 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  T 
OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic 
design?  Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a 
specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superla- 
tively pleasant  to  their  eyes?  Good  design  is  always  practical  de- 
sign.  And  what  they  see  \n  o  good  type  design  is,  partly,  its  excellent 
practical  fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in 
all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good 
chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly 
the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor 
"skinny"and  weak,  no  waste  of  material  and  no  lack  of  strength. 
And,  beyond  that,  the  chair  may  have  been  made  by  a  man  who 

I  hnil   point  Icildrd  I 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  T 
OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic 
design?  Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a 
specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superla- 
tively pleasant  to  their  eyes?  Good  design  is  always  practical  de- 
sign. And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent 
practical  fitness  to  perform  its  work.  It  has  a  "heft" and  balance  in 
all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good 
chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly 
the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor 
"skinny"  and  weak,  no  waste  of  material  and  no  lack  of  strength. 

I  I,. in-  p,.i„t  l,,ul,',h 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyz  1234567890  ($£,.:;'-?!*t) 

abcdefghijklmnopqrstuvwxyz  1234567890  ($£,.:;'-'?!*  f) 

Matrix  1  nfonnation :  14A256.  Lower  case  alpliahet.  187  points.  Figures,  .1107;  cmmiia.  period  and  thin  space.  .05S.1.  Runs  in  90  cliannel  maga- 
zine. Code  word.  ZIKON. 


651a 


METROLITE    No.  2 


J     1, 


with   ITALIC 


18     POINT,   Two-Letter 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYP 
How  can  one  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant 
to  their  eyes?  Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design  is,  partly,  its 
excellent  practical  fitness  to  perform  its  work.  It  has 
a  "heft'' and  balance  in  all  of  its  parts  just  right  for  its 

'  hn,,    p. .11,1    ir.nl,  d 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYP 
How  can  one  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant 
to  their  eyes?  Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design  is,  partly,  its 
excellent  practical  fitness  to  perform  its  work.  It  has 
a  ''heft''  and  balance  in  all  of  its  parts  just  right  for  its 


n.nn    h'liit   lr„,l,;ll 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyz  1234567890  ($,.:;'-?!) 
abcdefghijklmnopqrstuvwxyz  1234567890  ($,.:;'-'?!) 

FOR     72    CHAMNFL    MAGAZINL 
Sp,<i,ll  Xo     A     Fiuurr    I.    .1  1117:  J  In  II.    .  1  5.'2 

1234567890 
1234567890 

U,i/Mi    Ini.'iiiiiUioji      IRASn.    I  .uMT  insf  ,ili,l,.,li,l .   J.!_'  ,,,,1111-.     l-iKiiri-^.    .lllir     Kniis  in   wil  ,h;,,iiicl   in.ii:;i/iin-    foil,-  w..ni.   ZlniT. 


651b 


METROLITE    No.  2 


with   ITALIC 


24     POINT,   Two-Letter 


HOW  IS  ONE  TO  ASSESS  AND  EVALU 
How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-mokers  in  the  art  of  printing 
rave  over  a  specific  type  face?  What  do 
they  see  in  it?  Why  is  it  so  superlatively 
pleasant  to  their  1234567890  ($,.:/-?!) 


lUnil   f''tnt  leaded! 


HOW  IS  ONE  TO  ASSESS  AND  EVALU 
How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  type  face?  What  do 
they  see  in  it?  Why  is  it  so  superlatively 
pleasant  to  their  1234567890  {$„:;-?!) 


(tour  foiiit  leaded) 


ABCDEFGHIJKLMNOPQRSTUV 

ABCDEFGHIJKLMNOPQRSTUV 

WXYZ&  abcdefghijklmnopqrstuvwxyz 

WXYZ&abcdefghijklmnopqrstuvwxyz 

Matiir  [tjformution  :  24A?0.   Lower  c;ise  alpliahel.  30.-?  p.iints     Figure  1.   .1.1S3:  2  to  0.   .19M.    Runs  in   72  channel   inai;a/ine:  also  in   .^4  vliannel 
anxiliaiy  niasa/ine.  Code  wor<!.  ZIKOII. 


651c 


U\J  YUU  KNU  Vy  the  difference  between  a 
bird,  a  butterfly,  and  a  banker  ?  ?  ?  What  famous  woman  is  going  to 
answer  100,000  letters  in  the  next  twelve  months  ?  ?  ?  What  100  peo- 
ple voted  they  want  to  do  more  than  anything  else  in  the  world  ?  ?  ? 
Why  real  red  pepper  is  used  in  the  binding  of  certain  books??? 
What  reason  was  given  by  the  Western  man  who  stated  his  occu- 
pation as  "fishing  through  the  ice"  ?  ?  ?  Where  will  you  undress  when 
you  fly  across  the  continent  in  one  of  the  new  sleeping  planes  ?  ?  ? 


SEE  THIS  WEEK'S 


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Mexico.  Everybody  wants  to 
see  this  amazing  land  with  its  colorful  capital 
7500  feet  up  in  the  clouds.  On  a  Warren  trip 
all  expenses  are  paid  including  hotel,  sightseeing 
trips  and  spectacular  daylight  rail  climb  through 
the  mountains  from  Vera  Cruz.  Two  stopovers  at 
fascinating  Havana  on  the  Northbound  voyage. 


APPLY  TO  ANY  TOURIST 
AGENT,  OR  TO  THE 
PASSENGER      DEPT. 


WARREN 
LINE 


PIER  12 


COMMERCIAL 
WORK   IN 

METRO 
No.  2 


THE    CHECHIA 

(pronounced  shay-shlo) 

If  you  are  just  back  from 
Paris,  you  are  wearing  one  of 
these  soft,  high  hots  that  de- 
rive from  the  Moroccan  fez. 
In  satin,  or  novelty  fabrics  .  . . 
in  all  colors  ...  to  order  only. 

FIRST    FLOOR 


WOODMEERSE 
&  MARKLEBAR 

FIFTH    AND    CHAIRS 


Illustration.  Courtesy  B.-rgdorj-Guodmaii,  .V.  Y. 


SPECIFICATIONS 

TOP:  r.v/>(-.  24  point  Metromeiliiini  No.  2.  in  and 
8  point  Metrothin  No.  2.  Decoration.  Matrix 
.'Glides,  10  point  No.  414.  2  point  No.  404'/;. 

RIGHT:  Type.  14  point  Metroblack  No.  2.  8  point 
Metrolite  No.  2.  Decoration,  Matrix  Slides.  .T 
point  No.  42.1.  12  point  No.  649. 

LEFT:  Type,  30.  24,  10  and  6  point  Melroblack 
No.  2.  10  and  C  point  Melrolite  .\o.  2.  rtO  point 
Mefromediuni  No.  2.  Decoration.  Matrix  Slides. 
12  point  No.  1844.  2  point  No.  405. 


METROMEDIUM   No.  2 


with  METROTHIN   No.  2 


COMPARISON    OF    SIZES 

6  Point  (6A312)  Lower  case  alphabet.  86  points.  Figures.  .0484 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of  printing  rave  1234 

HOW  IS  ONE  to  assess  and  evaluate  a  type  foce  in  terms  of  its  esthetic  designr"  Why  do  the  pace-makers  in  the  ort  of  printing  rave  1234 

8  Point  (XA-tJ.sl  Lower  case  alphabet.  96  points.  Figures.  .O.SS.i 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of  1234 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design'  Why  do  the  pace-nnakers  in  the  art  of  1234 

10  Point  nnA.'H4l  Lower  case  alphabet,  IJO  points,  Fisnres.  0692 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pa  1234 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pa  1234 

12  Point  (12A366)  Low  er  case  alphabet.  145  points,  Fisvires.  .08,^ 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  1234 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  1234 

14  Point  (14A19S)  Lower  case  alphabet.  168  points.  Figures.  .0968 

HOW  IS  ONE  to  assess  and  evaluate  a  typeface  in  terms  of  its  esth  1234 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  itsesth  1234 

18  Point,  'I  W.I. Letter  (l.SA')l  Lower  case  alphabet.  Jl,^  p.unts,   1-iKure  1.  ,0968;  2  to  0.  .1107 

HOW  IS  one  to  assess  and  evaluate  a  type  face  in  term  12 

HOW  IS  one  to  assess  and  evaluate  o  type  face  in  term  12 

24  Point.  Two-Letter   (.'4A0I  Lower  case  alpliabel.  272  iioints    Ficiire  1.  .1245;  2  to  0.  .1798 

HOW  IS  one  to  assess  and  evaluate  a  type  12 

HOW  IS  one  to  assess  and  evaluate  0  type  12 


-('°  LINOTYPE"  >■ 


LIST   OF    CHARACTERS   AVAILABLE    IN    TWO-LETTER    FONTS 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ABCDEFGH  i  J  KLMNOPQRSTUVWXYZ& 
12345         abcdefghijkimnopqrstuvwxyz         67890 

12345         abcdefghijkimnopqrstuvwxyz         67890 
$£,. :;'-? !-  — /ECEaeue       . .  .  ( )  ni:§11  [  ]  @tb  % 

$£,.:/-'?H— '^^aece...        0  nt§1I[]@tt)% 

1/81/43/81/25/83/4% 
1/8/4  3/8/25/83/478 

TWO-LETTER    SMALL    CAPS 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ABCDEFGH  I J  KLMNOPQRSTUVWXYZ& 

Available  r^  ;iu  extra,  f>  to  14  pt.  inclusive. 

ALTERNATIVE    CHARACTERS 
The'J^c  characters,  in  Metrnniediuin  uiili   Meirothiii.  may  I)e  suh'^titiiled  fur  llmse  sluiwn  above  and  regiilarly  supplied. 

We  ACJ  M  N  VWagvw,  ;" 

Special  No.  1  luui^l.ctter :  fiA3nn,  8A414.  inA.170,  12A308.  14AlWi. 

1.SA6  (.Special  No.  6).  24A6  (Special  No.  fi) 
Onc-l.eltcr  Mctrowcdium  :  18A2.s7.  24A205.  30A2I)3.  .?6A109. 
Chic-Lcttcr  Mctrotllin:  18A2S9,  24A275.  30A20S.  36A111. 


652 


METROMEDIUM    No.  2 


pPt^. 


METROTHIN   No.  2 


COMPARISON    OF    SIZES 

IS  Tciiit  Mflr.iinciiuini   \.i.  2,  n,,,--l  ,,--ttcT    OXA  W'  l.nvcr  lasr-  ;,1i.li.il.cl .  Jl'  p.,ints     FiKiirc  1.    O'ii.H  ;  _'  t.i  il,     1107 

HOW  IS  one  to  assess  and  evaluate  a  type  face  in  term  12 

24  Tuiiit  Mel  re  .iiiedi  11111  No    _',  (hi.- 1  i-tiri   i  J4,A.-'S^)  1  , ,« <i  <  .is,-  .ilpli.ili.i ,  .;  s  nts,   l-~iL;iiir  1 .    1  in; :  J  I.I  n     i^-ii, 

HOW  IS  one  to  assess  and  evaluate  a  typ  12 

30  f.iilit   .Metr.ilin..liiiiii    ,\,i.   j   (  KlA^l.ll  Lnwcl    i  :isi-  ,ill.li,il.c-l .    Wj  piiinls.    l-iKUti-  1.   .12-1^:   J  1,1  II,     Jll/- 

HOW  IS  one  to  assess  and  evalu  12 

36  Point  Melriiine.luiiii  N,,.  J   (.IfiAIl'))  l.nwer  rase  ali.li.ihet.  4ll>i)imits.    l-iKiire   I.  ,  I  ^JJ :  J  t,,  (I.  .249 

HOW  IS  one  to  assess  and  12 

18  r,.iTil   ,\lelr.itli,„   .\,,,  :.•,  Oiie-I.etler   IINAU^.I  I. ,,„,-,   ,.-,se  alplial.el .  Jl^  p.uii.s     I- mine   I.    n'",-;  J  l , ,  n.  .  I  1  |I7 

HOW  IS  one  to  assess  and  evaluate  a  type  face  in  term  12 

24  r,.,lit   Metl-,,lliill   N„,   J,  llne-l.cttei-    IJ-IA-^'^'?!  I  nuei    . -is,-  alpll.il.,-(  ,   _7II  p.mits     Fmuie   I.     n.'-' 1  ;  J  t.ill.      1,,,, 

HOW  IS  one  to  assess  and  evaluate  a  type  12 

30  I'oiiil  .Met  I-,. til  111   .\,i.  J   (30A215)  L,,«cr  case  .ili.li.ili.-f .    !l'i  p., nits,    Imiiie   I.  M'M.K;  J  to  II.  .207.=, 

HOW  IS  one  to  assess  and  evolu  12 

36  Point  .Metrotlini  .\,,.  J  (36A121)  Lower  ease  alplialiet,  40=;  p., juts.   l-JKure  ].  .124,=^;  2  1,,  0,  .249 

HOW  IS  one  to  assess  and  12 


And  both  weights  in  A-P-L  motnces: 

SH="    M  M  M  M  M 

mmMM 


653 


METROMEDIUM    No.  2 


with  METROTHIN   No.  2 


6    POINT 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERM 
OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE 
How  is  one  to  assess  and  evaluate  o  type  face  in  terms  ot  its  es- 
thetic design?  Why  do  the  pace-makers  in  the  art  of  printing  rove 
over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleosant  to  their  eyes?  Good  design  is  always  practi- 
col  design  And  what  they  see  in  a  good  type  design  is,  partly,  its 
excellent  practical  fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  ports  just  right  for  its  size,  as  any  good  tool 
has.  Your  good  choir  has  all  of  its  parts  mode  nicely  to  the  right 
size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither 
clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of  material 
and  no  lack  of  strength.  And,  beyond  that,  the  chair  may  hove 
been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes 
and  curves  and  proportions;  it  may  be,  actually,  a  work  of  ort.  The 
same  thing  holds  for  shapes  of  letters.  And  your  choir,  or  your  let- 
ter (if  a  true  artist  mode  it)  will  hove,  besides  its  good  looks,  a 
suitability  to  the  nth  degree  to  be  sot  in,  or  stamped  on  paper  ond 
read.  That  explains,  in  a  way,  why  the  experts  rove  over  the  fine 
shapes  of  letters;  but  it  fails  to  explain  wherein  the  shapes  are 
tine.  If  you  seek  to  go  further  with  the  inquiry,  theories  will  be 
your  only  answer.  Here  is  o  theory  that  the  proponent  thinks  may 

I  f-fo  t>,n 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERM 
OF  ITS  ESTHETIC  DESIGN'  WHY  DO  THE  PACE-MAKERS  IN  THE 
How  is  one  to  ossess  ond  evaluate  a  type  face  in  terms  of  its  es- 
thetic design'  Why  do  the  pace-makers  in  the  art  of  printing  rave 
over  a  specific  face  of  type'  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  design  Is  always  practi- 
cal design.  And  what  they  see  in  a  good  type  design  is,  partly,  its 
excellent  practical  fitness  to  perform  its  work.  It  has  a  "heft" and 
balance  in  all  of  its  parts  just  right  for  its  size,  os  any  good  tool 
has  Your  good  chair  has  all  of  its  ports  made  nicely  to  the  right 
size  to  do  exactly  the  work  that  the  chair  hos  to  do,  neither 
clumsy  and  thick,  nor  "skinny"  and  weak,  no  woste  of  material 
and  no  lack  of  strength.  And,  beyond  that,  the  chair  may  have 
been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes 
and  curves  and  proportions;  it  may  be,  actually,  a  work  of  art.  The 
some  thing  holds  for  shapes  of  letters.  And  your  choir,  or  your  let- 
ter (if  a  true  artist  made  it)  will  have,  besides  its  good  looks,  a 
suitability  to  the  nth  degree  to  be  sat  in,  or  stamped  on  paper  and 
reod  That  explains,  in  a  way,  why  the  experts  rave  over  the  fine 
shapes  of  letters;  but  it  fails  to  explain  wherein  the  shapes  are 
fine  If  you  seek  to  go  further  with  the  inquiry,  theories  will  be 
your  only  answer  Here  is  a  theory  that  the  proponent  thinks  may 
It  leaded) 


ABCDEFGHIJKLMNOPQRSTUVWXYZ&         ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
obcdefghijklmnopqrstuvwxyz  1234567890  ($£,.:;'-'? ['■'t)         abcdefghijklmnopqrstuvwxyz  1234557890  ($£, 

Twn-letter  Small  Caps  available  as  an  extra 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&  ABCDEFGHIJKLMNOPQKSTUVWXYZO 


;'-''i»t) 


Miilri.r  Inint  malum:  6A.11-.   I-' 
aiui  thin  sp.ice.  A)277 .   Runs  in 


ver  lase  .ilphalicl.  Kfi  points,    iMuuie  1.  .04X4  (Regular)  or  .0346  (Special  No.  1 )  ;  2  to  0,  .0484;  comma,  period 
0  channel  inaga/ine.  Code  word,  ZADNA. 


-(  °  LINDTYPE'""> 


8     POINT 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE 
IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PAC 
How  is  one  to  assess  ond  evoluate  a  type  face  in  terms  of 
its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of 
printing  rave  over  a  specific  face  of  type?  What  do  they  see 
in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good 
design  is  always  practical  design  And  whot  they  see  in  a 
good  type  design  is,  partly,  its  excellent  practical  fitness  t 
perform  its  work.  It  hos  o  "heft" and  balance  in  all  of  its 
ports  just  right  for  its  size,  as  ony  good  tool  has.  Your  good 
chair  has  oil  of  its  ports  made  nicely  to  the  right  size  to  do 
exactly  the  work  that  the  choir  hos  to  do,  neither  clumsy 
and  thick,  nor  "skinny" ond  weak,  no  woste  of  moteriol  and 
no  lock  of  strength.  And,  beyond  that,  the  choir  may  hove 
been  mode  by  o  man  who  worked  out  in  it  his  sense  of  fine 
shapes  and  curves  and  proportions:  it  moy  be,  actually,  a 
work  of  ort.  The  some  thing  holds  for  shopes  of  letters.  And 
your  choir,  or  your  letter  ( if  o  true  artist  mode  it)  will  hove, 

I  !7V(i   fi'i 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
obcdefghijklmnopqrstuvwxyz  1234567890  ($£,.:;'-'?!■  t) 

Tun   Idler  Small  Cap 
ABCOEFGHIJKLMNOPQRSTUYWXYZ& 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE 
IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PAC 
How  IS  one  to  assess  and  evaluate  a  type  face  in  terms  of 
its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of 
printing  rave  over  a  specific  face  of  type?  What  do  they  see 
in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good 
design  is  always  proctical  design.  And  what  they  see  in  a 
good  type  design  is,  partly,  its  excellent  practical  fitness  to 
perform  its  work.  It  has  a  "heft" and  balance  in  all  of  its 
parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good 
chair  has  all  of  its  ports  made  nicely  to  the  right  size  to  do 
exactly  the  work  that  the  chair  has  to  do,  neither  clumsy 
and  thick,  nor  "skinny"  and  weak,  no  waste  of  material  and 
no  lack  of  strength.  And,  beyond  that,  the  chair  may  have 
been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine 
shapes  and  curves  and  proportions:  it  may  be,  actually,  a 
work  of  art  The  same  thing  holds  for  shapes  of  letters.  And 
your  chair,  or  your  letter  ( if  a  true  artist  made  it)  will  have, 

at  traded) 

ABCDEFGH I J  KLMNOPQRSTUVWXYZ& 
abcdefghijklmnopqrstuvwxyz  1234567890  ($£,. 

s  available  as  an  e.xtra 

ABCPEFGHIJKLMNOP0RSTUVWXYZ& 


'?!*t) 


AltcraaliTi-  Figiii 


ithic  .No.  A-\  witli  (lolliK    .\o.  -IJ  (8A4"Jn)  FiKure  1.  .0.=;.^.!: 

1234567890       1234567890 


to  0.  MV)i.  Code  word.  ZIBAV. 


Matrix  lull' 
and  thin  sp;i 


iliini     KA42.<<.  Lower  case  alphabet.  96  points.   Figure  1,  .OS.'^.l   (ReKular)  or  .041.=;   ISpecial  No.  1):  2  to  0,  .O.SS.l;  comma,  period 
.0277.  knns  in  'JO  channel  magazine.  Code  word,  ZADI'E. 


654 


METROMEDIUM   No.  2 


wi 


th  METROTHIN    No.  2 


10     POINT 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESI 
WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  OF 
How  is  one  to  assess  and  evaluate  a  type  foce  in  terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  design  is  always  practical  design  And  what  they  see  in  a 
good  type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has  a  "heft" and 
balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy 
and  thick,  nor  "skinny"and  weak,  no  waste  of  material  and  no  lack  of  strength.  And,  beyond  that, 
the  chair  may  have  been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and  curves 
and  proportions:  it  may  be,  actually,  o  work  of  art.  The  same  thing  holds  for  shapes  of  letters.  And 
your  chair,  or  your  letter  (if  a  true  artist  made  it)  will  have,  besides  its  good  looks,  a  suitability  to 
the  nth  degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That  explains,  in  a  way,  why  the  experts 
rave  over  the  fine  shapes  of  letters;  but  it  fails  to  explain  wherein  the  shapes  are  fine.  If  you  seek 
to  go  further  with  the  inquiry,  theories  will  be  your  only  answer.  Here  is  a  theory  that  the  proponent 

itlnrr  t.iiul   I, ■mini  i 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESI 
WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  OF 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace- 
makers In  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  design  is  always  practical  design.  And  what  they  see  in  a 
good  type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has  a  "heft"and 
balance  in  all  of  its  parts  |ust  right  for  its  see,  as  any  good  tool  has  Your  good  chair  has  all  of  its 
parts  mode  nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy 
and  thick,  nor  "skinny"and  weak,  no  waste  of  material  and  no  lack  of  strength.  And,  beyond  that, 
the  chair  may  have  been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and  curves 
and  proportions  it  may  be,  actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of  letters.  And 
your  chair,  or  your  letter  (if  a  true  artist  made  it)  will  have,  besides  its  good  looks,  a  suitability  to 
the  nth  degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That  explains,  in  a  way,  why  the  experts 
rave  over  the  fine  shapes  of  letters,  but  it  fails  to  explain  wherein  the  shapes  are  fine.  If  you  seek 
to  go  further  with  the  inquiry,  theories  will  be  your  only  answer   Here  is  a  theory  that  the  proponent 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ABCDEFGH I J  KLMNOPQRSTUVWXYZ& 
abcdefghijklmnopqrstuvwxyz  1234567890 ($£,.:;'-'?!  t) 

abcdefghi|klmnopqrstuvwxyz  ]234567890($£,. :,'-'?  !*t) 

ABCDEFGH  UKLMNOPQRSTUVWXYZGr        ABCDEFGH  UKLMNOPQRSTUVWXYZ& 
I   iiHiiK-  I  .iiMl.i],  (.SjiiTial  N...  Jil).  available  as  an  cxira 

fleFGKmnsujv    neFGHmnsLuv 

Allriiuilh;-  Funu,  •.     (...Iln.    Nm     H   «,  I  Ii  I  ..  ,i  Im,    .\o    a:   illlA-f-^''l    FiKiiri-   1  .  Mi.'H:  J  lo  I).  .DX.i.  C.iile  «,.nl.  ZIUMU. 

1234567890      1234567890 

.l/ii;/;.r  htioiinatioii  IDA.lS-t.  l.cnver  case  alphal..!.  l.'d  ii..iiits.  l-iKine  1.  .(»)'l.'  (l<<-i:ulai  I  nr  IIS.^.!  (Spi-iial  \(..  I  I  :  _'  to  II.  .OfrtJ:  coniiiia,  iK-rii.d 
anil  tllin  spa.e.  .O.Mf,.    knns  in  911  cliannc-l  numa/inc.  Ii.iii-  u..ril,  Z.MISO. 


655 


METROMEDIUM   No.  2 


with  METROTHIN   No.  2 


12     POINT 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  EST 
DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER 
How  is  one  to  assess  and  evaluate  a  type  face  In  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is 
always  practical  design  And  what  they  see  in  a  good  type  design  is,  partly,  its  ex- 
cellent practical  fitness  to  perform  its  work.  It  has  a  "heft" and  balance  in  all  of 
its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to 
do,  neither  clumsy  and  thick,  nor  "skinny"and  weak,  no  waste  of  material  and  no 
lack  of  strength.  And,  beyond  that,  the  chair  may  have  been  made  by  a  man  who 
worked  out  in  it  his  sense  of  fine  shapes  and  curves  and  proportions:  it  may  be,  actu- 

(  lour  p,.uil   UiUhlli 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  I N  TERMS  OF  ITS  EST 
DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?^  Why 
do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?'  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?'  Good  design  is 
always  practical  design.  And  what  they  see  in  a  good  type  design  is,  partly,  its  ex- 
cellent practical  fitness  to  perform  its  work.  It  has  a  "heft"and  balance  in  all  of 
its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to 
do,  neither  clumsy  and  thick,  nor  "skinny"and  weak,  no  waste  of  material  and  no 
lack  of  strength.  And,  beyond  that,  the  chair  may  have  been  made  by  a  man  who 
v^orkedout  in  it  his  sense  of  fine  shapes  and  curves  and  proportions:  it  may  be,  actu- 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ABCDEFGH I J  KLMNOPQRSTUVWXYZ& 
abcdefghijklmnopqrstuvwxyz  1234567890  ($£,.:;'-'?!'=  t ) 

abcdefghijklmnopgrstuvwxyzl234567890($£,.:;'-'?'!n) 

I  uii-letlt-r  SiiKtIl  (  .ips  a\'ailable  as  an  extra 

ABCDEFGHIJKLMNOPQRSTUYWXYZ&       ABCDEFGH  IJKLMNOPQRSTUVWXYZ& 

I'liiqiie  t  apitals  (Special  No.  20),  a\ailal)Ie  as  an  extra 

fleFGKfnnsujv    fleFGHmnsLuv 

Altcriiativi-  h'iaurcs     (Inlliu-  X,,,   44  «illi  (,nthi.    X,,,   4J   (1_'A4(.X)    FiKure   1.   .I)S3:  2  to  0.  .0968.  Code  word.  ZIHCA. 

1234567890     1234567890 

Mnl)ir  hiformafinn  :  12^3^,.  I,n\ver  case  .-ili>lial)et.  14S  points.  Figure  1.  MM  (Remilar)  or  .1)692  (Special  No.  1);  2  to  I).  .083;  comma,  period 
and  thill  space,  .041.';.  Runs  in  9(1  channel  niaKa/ine.  Code  word.  ZADTU, 


656 


METROMEDIUM    No.  2 


TT 


with  METROTHIN   No.  2 


14     POINT 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS 
OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic 
design?  Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  spe- 
cific face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleas- 
ant to  their  eyes?  Good  design  is  always  practical  design.  And  what  they 
see  in  a  good  type  design  is,  partly,  its  excellent  practical  fitness  to  per- 
form its  work.  It  has  a  "heft"and  balance  in  all  of  its  parts  just  right  for 
its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made 
nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do. 


(/(""■  poitit  Inidcdl 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  I N  TERMS 
OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic 
design?  Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  spe- 
cific face  of  typei^  What  do  they  see  in  \\^  Why  is  it  so  superlatively  pleas- 
ant to  their  eyes.'^  Good  design  is  always  practical  design.  And  what  they 
see  in  a  good  type  design  is,  partly,  its  excellent  practical  fitness  to  per- 
form its  work.  It  has  a  "heft"and  balance  in  all  of  its  parts  just  right  for 
its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made 
nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do, 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
abcdefghijklmnopqrstuvwxyz  1234567890  ($£,.:;'-'?  m ) 

abcdefghijklmnopqrstuvwxyz  1 234567890 ($£,.  :;'-'r^!''t) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&      ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

liiHIui-  '  .ipiUiK  (.Special  N'n.  _'lll.  ,.\  aTl.ilile  .i^  .111  t-Mi.i 

fleFGHfnnsujv  flGFCHmnBLUv 

Altfituiln;-  t-miii,-s     Liclliu     .\.i.    AA  uilli   (...lliii    NO.    Al    (M".M_'l     l-ii;in|.    I,     il'<,„V:    J    I.,  II.    .1107.    (  ,,ile   w.ird.   /.IISDK. 

1234567890    1234567890 

Miitnx  hilonmitioit  :  MAI''K.  l.'i«cr  i:is<-  .iIt>Ii.iIii-1.  I'.S  pi. hi  I  v.  l-imiie  1.  ."'".X  I  Ui-L;ul:ir  I  ..r  .ll.sl  iSpi-.  i:il  \...  1  1  ;  J  In  0.  .ll'K.S;  ...nuna.  prrioil 
.111(1  linn  sp.-uf.  .(H.s-t.   Runs  in  ')(!  ili.uuu-l  iii.i.ua/iiw.  Cndc  wi.nl.  Z.MJUl'. 


657 


METROMEDIUM   No.  2 


V/£i 


ith  METROTHIN    No.  2 


18     POINT,   lyjo-Letter 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  F 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of 
its  esthetic  design?  Why  do  the  pace-makers  in  the  art 
of  printing  rave  over  a  specific  face  of  type?  What  do 
they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design.  And  what 
they  see  in  a  good  type  design  is,  partly,  its  excellent 
practical  fitness  to  perform  its  work.  It  has  a  "heft"and 
balance  in  all  of  its  parts  just  right  for  its  size,  as  any 
good  tool  has.  Your  good  chair  has  all  of  its  parts  made 


/  iour  point  leaded  < 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  F 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of 
its  esthetic  design?^  Why  do  the  pace-makers  in  the  art 
of  printing  rave  over  a  specific  face  of  type?^  What  do 
they  see  in  itr^  Why  is  it  so  superlatively  pleasant  to  their 
eyes!^  Good  design  is  always  practical  design.  And  what 
they  see  in  a  good  type  design  is,  partly,  its  excellent 
practical  fitness  to  perform  its  work.  It  has  a  ''heft^'and 
balance  in  all  of  its  parts  just  right  for  its  size,  as  any 
good  tool  has.  Your  good  chair  has  all  of  its  parts  made 


I  Unir  f.nni   leaded  I 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyz  1234567890  ($,. :;'-'?!) 

abcdefghijklmnopqrstuvwxyz  1234567890  ($,. :;'-?!) 


Matiix  Injuiniatien      1XA6.    Lout 


alplialjct,  215  pciiits.   liKiiie  1.   .0%8:  J  to  n,   .1107.   Run-,  in  90  cliannel  ni.iKa/iiie,   Code  word.  ZETUZ. 


657  a 


METROMEDIUM    No.  2 


m> 


Wl 


th  METROTHIN    No.  2 


24     POINT,    Jv^o-Letter 

HOW  IS  ONE  TO  ASSESS  AND  EVALUAT 
How  is  one  to  assess  and  evaluate  a  type  face 
in  terms  of  its  esthetic  design?  Why  do  pace- 
makers in  the  art  of  printing  rave  over  a  spe- 
cific type  face?  What  do  they  see  in  it?  Why 
is  it  so  pleasant  to  their  eyes?  Good  design  is 
always  practical  desi  1234567890  ($,.:/-?!) 


.  \,n,,    l-;.n,l   /,,;,/,,/. 


HOW  IS  ONE  TO  ASSESS  AND  EVALUAT 
How  is  one  to  assess  and  evaluate  a  type  face 
in  terms  of  its  esthetic  design^  Why  do  pace- 
makers in  the  art  of  printing  rave  over  a  spe- 
cific type  face^  What  do  they  see  in  it^  Why 
is  it  so  pleasant  to  their  eyes^  Good  design  is 
always practicaldesi  1234567890  ($,.:/-^?') 


,  Ion,    /■-.in/   /,■,;,/,■,/' 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
abcdefghijklmnopqrstuvwxyz 

abcdef  gh  I  j  kl  mnopq  rstuvwxyz 

U,;/M'r   hiioi  „i,ilioi,     JJAi,,    I  ,,«,-i    ,.iv,.  .ilplKili.-l,     7'  i.mi,,i-     l-imnt-   I.   .IJl^:   1   I..  '1.    .I7')S;.    Nuns   in   ; -'  rli..inicl   nKit;.i.'ni(- :   nK..  Icvwl    ...n,-.  .v 
,i-l'l    "I.   HI  ..ip  .11. mil.  K  ..1   '«)  .li.i.iii,-l   iii.iK.i^iM.-   uitli  .jps  :.ii.l   lii;iiri-   in   M  ,li..ini<-l   aM-iili..i>    i.i.i^.i/iiir,   C,..!.-   u,.i.i,    ZIKMK. 


657  b 


658 


METRO 


MEDIUM    No.  2 


18     POINT,   One-Letter 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  F 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of 
its  esthetic  design?  Why  do  the  pace-makers  in  the  art 
of  printing  rave  over  a  specific  face  of  type?  What  do 
they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design.  And  what 
they  see  in  a  good  type  design  is,  p  1234567890  ($,.:/-7!) 


{thii-c  foint  U-aiirJ I 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
abcdefghijklmnopqrstuvwxyz 

ALTERNATIVE    FIGURES  FOR     72    CHANNEL    MAGAZINE 

Gothic  Ni>.  44  (18A.''J^»   Figures.  .1107.  Code  word.  ZIBID.  Sfrciul  No.  7.  Figures.  .1245 

1234567890  1234567890 

Matrix  Iiifoniiatioii :  18A.13J.  Lower  case  alphabet.  J15  points.  Figure  1.  .0968  (Regular)  or  .1107  (Special  No.  2»  ;  2  to  0,  .1107.  Runs  in  90 
channel  niaiia/ine.  (ode  word.  ZA(  LK.  Also  available  in  two-letter  matrices  as  Metromedium  No.  2  with  Metrothin  No.  2  (18A6); 
Metromedium  No.  2  with  Italic  ( 18A54). 


-(     LINOTYPE"  "0- 


24     POINT,   One-Letter 


HOW  IS  ONE  TO  ASSESS  AND  EVALUAT 
How  is  one  to  assess  and  evaluate  a  type  face 
in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over 
a  specific  face  of  typ  1234567890  ($,.:/-?!) 


I  III,,'.'  poinl  li-uJrJi 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
abcdefghijklmnopqrstuvwxyz 

Altcinatirc  Figures:  Gothic  No.  44  (24A17.^)  Figure  1.  .l.?8.!;  2  to  0.  .1937.  Code  word,  ZINNU. 

1234567890 

Matrix  Information:  24A285.  Lower  case  alphabet.  278  points.  Figure  1.  .1107  (Regular)  or  .166  (Special  No.  11  ;  2  to  0.  .166.  Runs  in  72  chan- 
nel magazine:  also  lower  case,  except  ni,  in  cap  channels  of  90  channel  magazine  with  caps  and  tigures  in  34  channel  au.xiliary  magazine.  Code 
word,  ZACZA.  Also  available  in  two-letter  matrices  as  Metromedium  No.  2  with  Metrothin  No.  2  (24A6);  Metromedium  No  2 
with  Italic  (24AS4). 


METRO 


MEDIUM    No.  2 


30    POINT 


How  is  one  to  assess  and  evaluate 
a  type  face  in  terms  of  its  esthetic 
design?  Why  1234567890($,.:/-?!) 

ABCDEFGHJKLMNOPQRSTUW 
XYZ  abcdefghijklmnopqrstuYWxyz 

Alternate;-  Fiyiars     Oothic  Nci,  44  (JI1A2,S1)   FiKure  1.  ,1729:  2  to  0,  .2-421.  Coile  woril.  ZINl'A. 

1234567890 

Matrix  Information :  3()A213.  Lower  case  alpluihet.  .349  points.  Figure  1.  .1245  (ReKulari  or  .2075  ISpecial  No.  li  ;  2  to  n,  .2075.  Runs  in  Wide 
72  channel  magazine:  also  lower  case  in  cap  cli.iimels  of  72  cliainiel  magazine  with  caps  and  tigures  in  Wide  34  cliainiel  auxiliary  magazine. 
Code  word.  ZADEB. 


-(      LINOTYPE     > 

36    POINT 


How  is  one  to  assess  and  eval- 
uate a  type  face  in  terms  of  its 
esthetic  1234567890($,.:;'-?!) 

ABCDEFGHIJKLMNOPQ 

RSTUVWXYZ& 
a  bcdef  gh  i  j  kl  m  nopq  rstu  vwxy 

Alternative  Fiinirrs:  Hotliic  \o.  44   (3r,A153)    Figure  1.  .2075;  2  t..  n.  .2006.   Code  word.  ZINRE. 

1234567890 

(Runs  in  Wirle  34  cliannel  anxili.iry  magazine  only) 
Matrix  Iniormatian:  .36A110.  T..>wer  ,.ise  alpli.il.ct,  4li,  points.   Figure  1.  .15J2   (Regular)  or  .24')   (Special  No.   1):  2  to  0.  .240.  Runs  in  Wule 
72  cliannel  nnigazine:  also  lower  c.ise  in  c.ip  channels  of  72  cliainiel   ni.igazine   willi   c.tps  and   figures   in   Wide   ^■\  cli.iniiel  auxiliary   inag.i/ine. 
Codeword.  ZADFO. 


659 


APL 

METRO 


MEDIUM   No.  2 


42  Point   (42Al'l2.'i)   I.nwcr  case  alrlmliet.  4R0  piiints.  Ciifle  ui.rd.  /AKIiA. 


SALE  OF  FINE  DRAPES 

Pinch-pleated  in  lengths 
to  fit  your  need  in  6  fine 


48  Poiiil  I48A102J)  l.nwer  case  alphabet.  559  points.  Code  woril.  ZAKCK. 


GEORGIAN  TABLES 
With  leather  top  $79 


60  Point  (6nAln2.1)  Lower  case  alplialiet,  71)6  points.  Code  word.  ZAKDI 


KID  GLOVES  IN 

Plain  types  and  4 


72  I'nint   l72Alll2.i)   Lower  case  alphaliet.  8.51  poinis    I  ode  word.  ZAKLIS. 


SEAL  COATS 

Imported  in  12 


All-Purpose  Linotype  matrices  are  also  available  in  6, 8,  10,  12,14,18, 24,  30  and  36  point  sizes. 

660 


APL 


METRO 


MEDIUM   No.  2 


,S4  I'ciiiU   I.H4Al"-'.'>  C.ips,   KiKiires  .incl  I'l.iiitv  ..nly.  (  ..lic  w.iiil.  ZKHKA. 


LINEN  SALE 
BEGINS  IN  21 


'II,  I'.iint  I'MAinj.l)  l.nwer  case  aliihalx-t.  I  I  ill  p.  n,, is.  (  ,„l,-  u  ,,ril.  ZKIil.K 


Net  High  38 


IJll  I'.iinl    I  l-'OAI'l-."!)  <"aps.  Figures  :ni.i   I'mIiiIs  (inly.  (  i.ik-  w..r.l.  /I-'I'.MI 


PEN  OF  4 


H4  I '(lint    (144Ain2.1l    l.oiMT  ,;i-.c  ;ili.li;i:icl .   1  SX.i  pMiiils     (  ,„ic  u,.r.l.  /AAWV. 


Grey  59 


661 


661a 


METRO 


11 


THIN   No.  2 


18      POINT,    One-Letter 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  F 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of 
Its  esthetic  design?^  Why  do  the  pace-makers  in  the  art 
of  printing  rave  over  a  specific  face  of  type^  What  do 
they  see  in  \t^  Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design.  And  what 
they  see  in  a  good  type  design  is,  p  1 234567890 ($,.  :/-'i^!) 


(four  point  leaded) 


ABCDEFGH IJ  KLMNOPQRSTUVWXYZ& 
abcdefghijklmnopqrstuvwxyz 

ALTERNATIVE    FIGURES  FOR    72    CHANNEL    MAGAZINE 

Gothic  No.  39  (18A.^73)  Figure  I.  .n.S3:  2  to  0.  .l.l.S.1.  Code  word,  ZELBA.  S fecial  No.  7.  Figures.  .1245 

1234567890  1234567890 

Matrix  hijormation :  18A335.  Lower  case  alphabet.  215  points.   Figure  1.  .0968   (Regular)   or  .1107   (Special  No.  2)  ;  2  to  0.  .1107.  Runs  in  90 
channel  magazine.  Code  word,  ZACVE.  Also  available  in  two-letter  matrices  as  Metromedium  No.  2  wdth  Metrothin  No.  2   (  18 A6). 


■<„  I  LINOTYPE  ""»> 


24     POINT,   One-Letter 


HOW  IS  ONE  TO  ASSESS  AND  EVALUAT 
How  IS  one  to  assess  and  evaluate  a  type  face 
in  terms  of  its  estheric  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over 
a  specific  face  of  type  1234567890($, :/-'?! ) 

ABCDEFGHUKLMNOPQRSTUVW^^^ 
abcdefghijklmnopqrstuvwxyz 

Alternatree  hiiiures     i;..thic  .\m.  V   iJ4A.1|5i    Fimire   1.  ,11117;  .'  to  II.  .17')X.  Code  word.  ZELCE. 

1234567890 

Matrix  htjoymatiar  :  24A387.  Lower  case  alphabet.  2711  points.  Finiire  1.  .llX.i  iRcnul.irl  or  .166  (Special  No.  1 )  ;  2  to  0.  .166.  Runs  in  72  chan- 
nel niaga/ine;  also  louer  case,  except  ni.  in  cap  channels  of  9(1  channel  niaKa/ine  with  caps  and  figures  in  34  channel  auxiliary  magazine.  Code 
word.  ZAlHi.V.  Also  available  in  two-letter  matrices  as  Metromedium  No.  2  with  Metrothin  No.  2   C24A6). 


METRO 


1  t  I 


THIN   No.  2 


30    POINT 


How  is  one  to  assess  and  evaluate 

any  type  face  in  terms  of  its  esthetic 

design?  Why  1234567890  ($,;/-'?') 

ABCDEFGHJKLMNOPQRSTUW 
XYZ  abcdefghijl<lmnopqrstuvwxyz 

AltcinaliVi-  I- miiii-i  :  (i.itliH-  Nc  .!■)   (.lOA-'.Vj)    FiKure   I.  .  I  Ix  1 ;  1  i.,  II.  .22l^.  C.kIc  wijrd.  ZELIM. 

1234567890 

Matrix  Injarmatiim  :  30A215.  Lower  case  alplialiet.  3.V)  |«Mlll^.  I'lKUre  1.  .II'K.X  (keKiilarl  nr  .:'i)7^  {Speci.il  Nn.  \);  2  tn  I).  .J07S.  Runs  in  Wide 
72  channel  inaKa/ine;  also  lower  case  in  cap  channels  oi  12  channel  niaKa/ine  with  caps  and  limires  in  Wide  .14  channel  auxiliary  niaga/ine. 
Code  word.  ZADEN. 


-(LINOTYPE     > 

36    POINT 


How  is  one  to  assess  and  eval- 
uate a  type  face  in  terms  of  its 
esthetic  1234567890  ($,:;'-'?!) 

ABCDEFGHIJKLMNOPQ 
RSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyz 

AltcriNitr',-  I'laiii.K     li.illiic   .\o.   .I'M.il.AI.'l  >    I'll;  111.-   I.   .U\l'<:  -'to  0.  .J(,20.   lod,-  ^^.„,\.  ZI-:])VU, 

1234567890 

/U«/rir  l,iloniu,tio,i  :  ,1fiA121.  Lower  i.i^c-  .ilpli.ilicl .  Atr-.  points.  l-iKurc  I.  .  1Jt3  l  Ucmil.il  i  nr  ,-M'i  (Special  .\o.  1):  2  to  0.  .2A9.  Runs  in  Wide 
72  ch.iniul  ni.iK.i/ine:  .also  lower  lase  in  c.i|i  ilianiicN  ol  7J  channel  in.iKa/ine  uilli  laiis  and  liKlircs  in  Wide  .M  channel  auxiliary  m.isa/ine. 
Code  word,  Z.\niC. 


661b 


A-PL 

METRO 


THIN    No.  2 


4_'  roint  (42A10n2)  I.nwer  ca-se  alphabet.  47fi  pnitits.  Code  woivl,  ZACDO. 


SALE  OF  FALL  COATS 

Many  models  in  size  18  to 
choose  from  and  lengths 


48  Pniiit   (4SAI0n2l   I.inver  c.ise  allihahel,  ,';44  points.  Code  woril.  Z.ANTU 


VESTEE  DRESSES 

Bright  colors  only  $25 


M)  Point   tfjOAl'KlJI   Lower  i.ive  alph.ihet.  I'.y?  i.oint^.  Code  word.  /;\.\IN. 


IMPORTED  SILK 

Tie  bargain  at  $3 


72  Point   l72A10n2)  Lower  case  alpliahet.  82S  points.  Code  word.  /..MEM, 


NEW  SPRING 

Styles  with  a  16 


Alt-Purpose  Linotype  matrices  are  also  available  in  6,  8,  10,  12,14,18,  24,  30  and  36  point  sizes. 

661c 


APL 


METRO 


THIN    No.  2 


X4  J'oiiit   (8-tAl'lll-)   I  .-ips.   Fiuures,  anil   I'l.iiil-i  ..nly,  I'l.iic  u..i<l.  /A/I'V. 


RED  CAP  OF 
SILK  AND  28 


96  }'oiiil    (W.AIOO^)  C.-iiis.  FiKiUi-s  and   IViiiit^  .mi1>'.  C.i.Ip  uor.l.  ZAZ\'l). 


FOR  3  MEN 


IJn  J'..nit   (K'llAlUDJ)  l'aT)v,   Fivjiiies  a?Ki   I'niiit  v  ,,iilv    (  .nle-  u .  n.l.  /A'lZ  K. 


ONE  IN  5 


144  I'oint   IH4A1II(I2)  Cips.  FiKlires  and   P., hits  .luiy.  lode  w.ird.  /AZZI. 


NETS  18 


661  d 


METROMEDIUM   No.  2 


with  ITALIC 


COMPARISON   OF  SIZES 

6  I'uiut   t6A.''-'-?'  Lower  case  alphaljet.  So  points.  Figures.  .0484 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of  printing  rove  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  estltetic  design?  Why  do  the  pace-makers  in  the  art  of  printing  rave  1234 

8  Point  (8A494)  Lower  case  alphabet.  97  points.  Figures.  .0553 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of  1234 

in  point   (10A4''>2I  Lower  case  alpliahet.  122  points.  Figures.  .OfiVJ 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pa  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pa  1234 

12  pMinf   (1.YJ04I  Lower  case  alpliahet.  14(i  points.  Figures,  .083 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  1234 

14  Point  (14A24(.)  Lower  case  alphabet.  169  points.  Figures.  .11968 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esth  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  estfi  1234 

15  Point.  Two-Letter  (18A54)  Lower  case  alphabet.  209  points.  Figures.  .1107 

HOW  IS  one  to  assess  and  evaluate  a  type  face  in  terms  12 
HOW  IS  one  to  assess  and  evaluate  a  type  face  in  terms  72 

24  P. loit.  Tu(. -Letter   I24A?4I  Lower  case  alphabet.  27S  points.  Figure  1,  .1J8J  ;  2  to  0.  .1937 

HOW  IS  one  to  assess  and  evaluate  a  type  1 2 
HOW  IS  one  to  assess  and  evaluate  a  type  12 

18  Point  Metrnnieilinm  No.  2  Italic.  One-Letter   I1SA423I  Lower  case  alphabet.  21)9  points.  Figures.  .1107 

HOW  IS  one  to  assess  and  evaluate  a  type  face  in  terms  12 

24  Point  Metroineiiiuni  .X.i.  2  Italic.  One-Letter  (24A.171  )  Lower  case  alphabet.  27.^  points.  Figure  1.  .13.S.1;  2  to  0.  .1937 

HOW  IS  one  to  assess  and  evaluate  a  type  12 


-(LINOTYPE    ■> 


LIST   OF   CHARACTERS   AVAILABLE    IN   TWO-LETTER    FONTS 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

12345         abcdefghijklmnopqrstuYWxyz         67890 

72345         abcdefghijklmnopqrstuYWxyz         67890 

$£,.:;'.7!__/ECEaBoe        .  .  .()*t1:§1l[]@tb  % 

$£,.:;'-'?!-,— /Edaeoe .  .  .        (rft§ll[]@1h  % 

VMW/iW/M 

ALTERNATIVE    CHARACTERS 
These  characters,  in  Metrrmiediuin  with  Italic,  may  be  substituted  for  those  shown  aIio\e  and  reyularly  supplied. 

We  ACJMNVWagvw,;" 

Special  No.  1  Special  No.  b 


662 


METROMEDIUM   No.  2 


with  ITALIC 


6    POINT 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERM 
OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  es- 
thetic design?  Why  do  the  pace-makers  in  the  art  ot  printing  rave 
over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  design  is  always  practi- 
cal design.  And  what  they  see  in  a  good  type  design  is,  partly,  its 
excellent  practical  fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool 
has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right 
size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither 
clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of  material 
and  no  lack  of  strength.  And,  beyond  that,  the  chair  may  have 
been  mode  by  a  mon  who  worked  out  in  it  his  sense  of  fine  shapes 
and  curves  and  proportions:  it  may  be,  actually,  a  work  of  ort.  The 
same  thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  let- 
ter (if  a  true  artist  made  it)  will  have,  besides  its  good  looks,  a 
suitability  to  the  nth  degree  to  be  sat  in,  or  stamped  on  paper  and 
read.  That  explains,  in  a  way,  why  the  experts  rave  over  the  fine 
shapes  of  letters;  but  it  fails  to  explain  wherein  the  shapes  are 
fine.  If  you  seek  to  go  further  with  the  inquiry,  theories  will  be 
your  only  answer.  Here  is  a  theory  that  the  proponent  thinks  may 
hove  sense  in  it:  Fine  type  letters  were,  in  the  first  place,  copies  of 
fine  written  letters.  Fine  written  letters  were  fine  because  they 
were  produced  in  the  most  direct  and  simple  way  by  a  tool  in  the 

t /:(.,.  />,. 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
abcdefghijklmnopqrsfuvwxyz  1234567890  {$£,.  :;'-'?!*t) 

Miitiix  Infoi  luati.ni  i.A.i''.-'-  I.MUtT  i;isf  .ilpli.iln-l.  >'.i,  p,,nils,  l-iKurcs. 
/me.  (  udf  wnnl.  ZF.ZLZ. 


HOW  IS  ONI  TO  ASSESS  AND  BVALUATE  A  TYPB  FACB  IN  TERM 
OF  ITS  ESTHETIC  DESIGN'  WHY  DO  THE  PACE-MAKERS  IN  THE 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  es- 
thetic design?  Why  do  the  pace-makers  in  the  art  of  printing  rave 
over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes'  Good  design  is  always  practi- 
cal design.  And  what  they  see  in  a  good  type  design  is,  partly,  its 
excellent  practical  fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool 
has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right 
size  to  do  exactly  the  work  that  the  choir  has  to  do,  neither 
clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of  material 
and  no  lack  of  strength.  And,  beyond  that,  the  chair  may  have 
been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes 
and  curves  and  proportions:  it  may  be,  actually,  a  work  of  art.  The 
same  thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  let- 
ter (if  a  true  artist  made  it)  will  hove,  besides  its  good  looks,  a 
suitability  to  the  nf/i  degree  to  be  sat  in,  or  stamped  on  paper  and 
read.  That  explains,  in  a  way,  why  the  experts  rove  over  the  fine 
shapes  of  letters;  but  it  fails  to  explain  wherein  the  shapes  are 
fine.  If  you  seek  to  go  further  with  the  inquiry,  theories  will  be 
your  only  answer.  Here  is  a  theory  that  the  proponent  thinks  may 
have  sense  in  it:  Fine  type  letters  were,  in  the  first  place,  copies  of 
fine  written  letters.  Fine  written  letters  were  fine  because  they 
were  produced  in  the  most  direct  and  simple  way  by  a  tool  in  the 
nl  /<•«</<■<// 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
abcdefghijklmnopqrstuvwxyz  1234567S90  ($S.,.:;'-'?!*f) 


■{LINOTYPE     )- 

8     POINT 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE 
IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PAC 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of 
its  esthetic  design?  Why  do  the  pace-makers  in  the  ort  of 
printing  rove  over  a  specific  face  of  type?  What  do  they  see 
in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good 
design  is  always  practical  design.  And  what  they  see  in  a 
good  type  design  is,  partly,  its  excellent  practical  fitness  to 
perform  its  work.  It  has  a  "heft" and  balance  in  all  of  its 
parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good 
chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do 
exactly  the  work  that  the  chair  has  to  do,  neither  clumsy 
and  thick,  nor  "skinny"  and  weak,  no  waste  of  material  ond 
no  lack  of  strength.  And,  beyond  that,  the  chair  may  have 
been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine 
shapes  and  curves  and  proportions:  it  may  be,  actually,  a 
work  of  art.  The  same  thing  holds  for  shapes  of  letters.  And 
your  chair,  or  your  letter  (if  a  true  artist  made  it)  will  have, 
besides  its  good  looks,  a  suitability  to  the  nth  degree  to  be 
sat  in,  or  stamped  on  poper  and  read.  That  explains,  in  a 
way,  why  the  experts  rave  over  the  fine  shapes  of  letters; 
but  it  tails  to  explain  wherein  the  shapes  are  fine.   If   you 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
abcdefghijklmnopqrstuvwxyz  1234567890  ($£,.:;'-'?!* t) 

.Matyi.r   hiio'ination:  8A4'M.   Lower  e.i-.e  .ilpli.ilK'l.  'T  lioiiils.    iMKiires. 
zine.  Code  wurd,  ZKZ\T'. 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE 
IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PAC 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of 
its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of 
printing  rave  over  a  specific  face  of  type?  What  do  they  see 
in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good 
design  is  always  practical  design.  And  what  they  see  in  a 
good  type  design  is,  partly,  its  excellent  practical  fitness  to 
perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its 
parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good 
chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do 
exactly  the  work  that  the  chair  has  to  do,  neither  clumsy 
and  thick,  nor  "skinny"  and  weak,  no  waste  of  material  and 
no  lack  of  strength.  And,  beyond  that,  the  chair  may  have 
been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine 
shapes  and  curves  and  proportions:  it  may  be,  actually,  a 
work  of  art.  The  same  thing  holds  for  shapes  of  letters.  And 
your  chair,  or  your  letter  (if  a  true  artist  made  It)  will  have, 
besides  its  good  looks,  a  suitability  to  the  nth  degree  to  be 
sat  in,  or  stamped  on  paper  and  read.  That  explains,  in  a 
way,  why  the  experts  rave  over  the  fine  shapes  of  letters; 
but  it  fails  to  explain  wherein  the  shapes  are  fine.  If  you 

„l  l,aJ,-,l  ' 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
abcdefghijklmnopqrstuvwxyz  1234567890  ($£,.:;'-'?!*f) 

.nS.^.f;  1-..IIII1I.1.   period   .ind   thin   ■.pjue.   .(IJ77.    Runs  in  'JD  cluiiinel   m.iKa- 


663 


METROMEDIUM   No.  2 


with  ITALIC 


10     POINT 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESI 
WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  OF 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  design  is  always  practical  design.  And  what  they  see  in  a 
good  type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy 
and  thick,  nor  "skinny"  and  weak,  no  waste  of  material  and  no  lack  of  strength.  And,  beyond  that, 
the  chair  may  have  been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and  curves 
and  proportions:  it  may  be,  actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of  letters.  And 
your  chair,  or  your  letter  (if  a  true  artist  made  it)  will  have,  besides  its  good  looks,  a  suitability  to 
the  nth  degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That  explains,  in  a  way,  why  the  experts 
rave  over  the  fine  shapes  of  letters;  but  it  fails  to  explain  wherein  the  shapes  are  fine.  If  you  seek 
to  go  further  with  the  inquiry,  theories  will  be  your  only  answer.  Here  is  a  theory  that  the  proponent 
thinks  may  have  sense  in  it:  Fine  type  letters  were,  in  the  first  place,  copies  of  fine  written  letters. 
Fine  written  letters  were  fine  because  they  were  produced  in  the  most  direct  and  simple  way  by  a 
tool  in  the  hands  of  a  person  expert  in  its  use,  by  a  person,  moreover,  who  was  an  artist,  i.e.,  a  person 

Itlnrr  finnl  Iradcil  I 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESI 
WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  OF 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  design  is  always  practical  design.  And  what  they  see  in  a 
good  type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy 
and  thick,  nor  "skinny"  and  weak,  no  waste  of  material  and  no  lack  of  strength.  And,  beyond  that, 
the  chair  may  have  been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and  curves 
and  proportions:  it  may  be,  actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of  letters.  And 
your  chair,  or  your  letter  (if  a  true  artist  made  it)  will  have,  besides  its  good  looks,  a  suitability  to 
the  nth  degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That  explains,  in  a  way,  why  the  experts 
rave  over  the  fine  shapes  of  letters;  but  it  fails  to  explain  wherein  the  shapes  are  fine.  If  you  seek 
to  go  further  with  the  inquiry,  theories  will  be  your  only  answer.  Here  is  a  theory  that  the  proponent 
thinks  may  have  sense  in  it:  Fine  type  letters  were,  in  the  first  place,  copies  of  fine  written  letters. 
Fine  written  letters  were  fine  because  they  were  produced  in  the  most  direct  and  simple  way  by  a 
tool  in  the  hands  of  a  person  expert  in  its  use,  by  a  person,  moreover,  who  was  an  artist,  i.e.,  a  person 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ABCDEFGHUKLMNOPQRSTUVWXYZ& 
abcdefghijklmnopqrstuvwxyz  1234567890  ($£,.:;'-'? !*t) 
abcdefghijklmnopqrstuvwxyz  1234567890  ($£,.:;'-'?!*f) 

Matfix  Information  :  10A462.  Lower  case  alpliabel,  122  pi»iiiis.  riKures.  .0692;  comma,  period  and  thin  space.  .0346.  Runs  in  90  channel  maga- 
zine. Code  word,  ZEZYI. 


664 


METROMEDIUM   No.  2 


with  ITALIC 


12     POINT 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  EST 
DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is 
always  practical  design.  And  what  they  see  in  a  good  type  design  is,  partly,  its  ex- 
cellent practical  fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of 
its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its 
ports  made  nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to 
do,  neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of  material  and  no 
lack  of  strength.  And,  beyond  that,  the  chair  may  have  been  made  by  a  man  who 
worked  out  in  it  his  sense  of  fine  shapes  and  curves  and  proportions:  it  may  be,  actu- 
ally, a  work  of  art.  The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or  your 
letter  (if  a  true  artist  made  it)  will  have,  besides  its  good  looks,  a  suitability  to  the 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  EST 
DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is 
always  practical  design.  And  what  they  see  in  a  good  type  design  is,  partly,  its  ex- 
cellent practical  fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of 
its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to 
do,  neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of  material  and  no 
lack  of  strength.  And,  beyond  that,  the  chair  may  have  been  made  by  a  man  who 
worked  out  in  it  his  sense  of  fine  shapes  and  curves  and  proportions:  it  may  be,  actu- 
ally, a  work  of  art.  The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or  your 
letter  (if  a  true  artist  made  it)  will  have,  besides  its  good  looks,  a  suitability  to  the 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
abcdefghijklmnopqrstuvwxyz  1234567890  ($£,.:;'-'?!*t) 
abcdefghijklmnopqrstuvwxyz  1234567890  ($£,.:;'-'?!*f) 

Miitlix  lHl,,nn,ilioii  1_'A4(,-I  l,,,n,-T  ,  :i^c  .ili.ll.ilii'l .  I  ll.  |i.,nils.  |-i«iii,-s.  IINl;  ,.,nuii:i.  |.<-n.i,l  ami  llini  <.|Mi-f-.  Il-tl--.  Kuiin  in  ■«)  ,Ii;miui-I  m:i«:i- 
^ilie.  C  ,,ilf  v\(.r,l.   ZI'Z  I  CI. 


665 


METROMEDIUM   No.  2 


with  ITALIC 


14     POI  NT 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS 
OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic 
design?  Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  spe- 
cific face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleas- 
ant to  their  eyes?  Good  design  is  always  practical  design.  And  what  they 
see  in  a  good  type  design  is,  partly,  its  excellent  practical  fitness  to  per- 
form its  work.  It  has  a  "heft"and  balance  in  all  of  its  parts  just  right  for 
its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made 
nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do, 
neither  clumsy  and  thick,  nor  "skinny"and  weak,  no  waste  of  material 
and  no  lack  of  strength.  And,  beyond  that,  the  chair  may  have  been  made 
by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and  curves  and  pro- 

I  /i'lii   point  leaded  I 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS 
OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic 
design?  Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  spe- 
cific face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleas- 
ant to  their  eyes?  Good  design  is  always  practical  design.  And  what  they 
see  in  a  good  type  design  is,  partly,  its  excellent  practical  fitness  to  per- 
form its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for 
its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made 
nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do, 
neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of  material 
and  no  lack  of  strength.  And,  beyond  that,  the  chair  may  have  been  made 

If, nil   /I, .111/  leaded) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyz  1234567890  ($£,.:,- ?!*t) 
abcdefghijklmnopqrstuvwxyz  1234567890  ($£,.:;'- ?l*f} 

Matrix  Inj„rmatiun:  14A--4'i.  I."vvcr  case  alphabet.  li>y  pniiits.  I'lgureh.  .(I'JGS;  loimiia,  periud  anil  tlun  space.  .04X4.  Uuiis  in  9(1  channel  maga- 
zine. Ciiile  wmil.  ZEZZO. 


666 


METROMEDIUM   No.  2 


with  ITALIC 


18     POINT,    Two-Letter 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FA 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of 
its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of 
printing  rave  over  a  specific  face  of  type?  What  do  they 
see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes? 
Good  design  is  always  practical  design.  And  what  they  see 
in  a  good  type  design  is,  partly,  its  excellent  practical  fit- 
ness to  perform  its  work.  It  has  a  "heft"and  balance  in  all 
of  its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your 
good  chair  has  all  of  its  parts  made  nicely  to  the  right  size 


(/<«,/-  p,:iiU  Iculrdi 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FA 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of 
its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of 
printing  rave  over  a  specific  face  of  type?  What  do  they 
see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes? 
Good  design  is  always  practical  design.  And  what  they  see 
in  a  good  type  design  is,  partly,  its  excellent  practical  fit- 
ness to  perform  its  work.  It  has  a  ''heft" and  balance  in  all 
of  its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your 
good  chair  has  all  of  its  parts  made  nicely  to  the  right  size 


I  I, nil   p,-liil  l,ad,dl 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyz  1234567890  ($,.:;'-?!) 
abcdefghijklmnopqrstuYwxyz  1234567890  ($,.:;'-'?!) 


Miitiix  Inloi-iiuituiii     IXA^-).  I-..UI-I  i.isr  .ilpli.ihct .  Jll'i  ij.iiiit.,.   Kiciircs.  .11117.   Riiiis  ill  '111  cli.iiiiii'l 


667 


METROMEDIUM   No.  2 


with  ITALIC 


24     POINT,   Two-Letter 


HOW  IS  ONE  TO  ASSESS  AND  EVALUAT 
How  is  one  to  assess  and  evaluate  a  type  face 
in  terms  of  its  esthetic  design?  Why  do  pace- 
makers in  the  art  of  printing  rave  over  a  spe- 
cific type  face?  What  do  they  see  in  it?  Why 
is  it  so  pleasant  to  their  eyes?  Goocf  design  is 
always  practical  de  1 234567890  ($,.:/-?!) 


If, nil'  l^innt  leaded) 


HOW  IS  ONE  TO  ASSESS  AND  EVALUAT 
How  is  one  to  assess  and  evaluate  a  type  face 
in  terms  of  its  esthetic  design?  Why  do  pace- 
makers in  the  art  of  printing  rave  over  a  spe- 
cific type  face?  What  do  they  see  in  it?  Why 
is  it  so  pleasant  to  their  eyes?  Good  design  is 
always  practical  de  1234567890  ($,.:/-?!) 


(iuiii  f.nnl  leaded) 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuYWxyz 

abcdefghijklmnopqrstuvwxyz 

Matrix  Iniermatinn:  24A'^4.  T.ower  case  alphabet,  275  points.   Figure  1.  .138.1;  2  to  0,  .iq.??.  Runs  in  72  channel  maKazine:  also  lower  case,  ex- 
cept m.   in  (MP  cliannels  of  90  channel  mastazine  with  caps  and  figures  in  34  channel  auxiliary  magazine.   Code  word,  ZIFCI. 


668 


METROMEDIUM    No.  2 


If 


ITALIC 


18     POINT,    One-Letter 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FA 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of 
its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of 
printing  rave  over  a  specific  face  of  type?  What  do  they 
see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes? 
Good  design  is  always  practical  design.  And  what  they  see 
in  a  good  type  design  is,  partly,  its  e  1234567890  ($,.:/-'?!) 


,  Win    I'.'nit  Iradrdi 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
abcdefghijklmnopqrstuvwxyz 

Matn.v  Jnfonuation  .    IHA-I-'-^.   I-'n\rr  ^ase  aipli.il.rt .   _'')■(  |i,iiiiis,    1- iKure^.   .Iln7,    Uuii^  in  'M)  Lhaiiiitl  inaga/int-.   IulIc   wdd.   /IM-J'.    Also  avail- 
able in  two-letter  matrices  as  Metromedium  No.  2  with  Italic  (18     54  ) . 


<      LINOTYPE    > 


24     POINT,    One-Letter 


HOW  IS  ONE  TO  ASSESS  AND  EVALUAT 
How  is  one  to  assess  and  evaluate  a  type  face 
in  terms  of  its  esthetic  design?  Why  do  pace- 
makers in  the  art  of  printing  rave  over  a  spe- 
cific type  face?  What  do  they  see  in  it?  Why 
is  it  so  pleasant  to  their  eyes?  Good  design  is 
always  practical  de  1234567890  ($,.:;'-'?!) 


(I,n,i    p.diil   l,;,d.;ll 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
abcdefghijklmnopqrstuvwxyz 

Mdlii.v  Iniiirmatuin  .MA-''l  l."">-i  ..im-  .i1|.Ii.i1.i-i  .  _'7^  p.. nils.  FikMirc  1.  .I.IK.I;  .'  t..  ll,  .I'll?  Kiiiis  ni  ;_'  .  Ii.niin-I  iii:ii;aniic;  .d-,i  l.nvi-r  .  .ise. 
exicpl  ni.  in  i.cp  chaiiiit-K  ..I  '«!  clianiit-l  iii.i«.c/iiu-  uUll  caps  and  ficurt-s  in  \A  iliaiim-l  auxiliary  niai;a/iiii.-.  Cnde  «..i.l.  ZIMI-:\  Also  available 
in  two-letter  matrices  as  Metromedium  No.  2  with  Italic  (24.\54). 


668  a 


ADVERT  IS 


For  the  A-P-L:  Gothics  No.  41 ,  40  and  39  at 

available  in   1  8  to  144  point  sizes;  No.  4^ 
44  and  42  in  1  8  to  60  point  sizes. 


GOTHK 


456789 


0 


72 


12345 


GOTHK 


6789C 


96 


2345 


GOTHK 


6789C 


ii   #%  ^%  GOTHIC 

1 2  J456789012345678 


GOTHIC  No. 4! 

901J 

IS 

^    ^^  ^^  GOTHIC  No.  4^ 

1Z045678901234 


5678901S 


A    /^   4^  GOTHIC  No. 4: 

Izo4567890l23456789on 


668  b 


AG   FIGURES 


ir  the  Linotype:  Gothics  No.  41,  40  and  39  are  available  in  1  8  to  42  point 
zes.  (See  "Linotype  Gothics"  for  complete  showing  and  full  technical  in- 
rmation. ) 


lo.41 


12345678901 


2345 


lo.40 


2345678901 


2345 


I0.39 


23456789012345 


ETROBLACK,  18  to  30  point 


2345  567890  1234567890 


30  24 

^251.  Regular  posit ioti.  Figure  1 ,  .166 ;  2  to 
.249.  F(ir  two  line  12  i>iiint  from  advertising 
are  mold.  Runs  in  34  channel  auxiliary  maKa- 
es.  Code  word.  Zi-'.cni' 

^277.  Regular  position.  Fiyure  1.  .124S;  2  to 
.1937.    Vt.iT  two  line  K)  point    trmn  advertising 

ETROMEDIUM,  18  to  30  point 


figure  iiiolil.  Kiiiis  in  .ill  ;inxili;iry  UKin-i/ilies. 
Code  word.  ZAFnU. 

18A3J5.  Remilar  iiiisilion.  Figure  1 ,  .  1 -M^  :  J  to  (1. 
A522.  For  two  line  8  imint  from  advertising  fig- 
ure mold.  Runs  in  ^0  iliannel  Tn.-iya/iiie.  .-idver- 
tising  figure  layout  and  in  all  .nivili.iry  niaK.i 
/ines.  Code  word.  7ADZV. 


23456  34567890  1234567890 


30 
^227.    Regular    position.    Figures.    .207';-    F.ir 
D  line    12  point   frt>ni  advertising  figure  mold, 
ns    in    all    auxiliary    magazines.    Tode    word. 
YZO. 

1305.  Regular  position.  Figures,  .lf.6.  For 
D  line  111  point  from  advertising  figure  mold, 
ns  in  90  channel  maga/ine.  advertising  figure 


layout  .'lud  in  .tII  auxili.ir^  iii.ig.iyines.  ("ode 
word.  ZAYVI. 

1HA3^^-  Regular  positi,,n.  Figures,  .124';,  For 
two  line  H  point  frt>m  advertisiu.g  figure  mold. 
Runs  in  QO  channel  maga/ine.  advertising  figure 
Iay<n]t  and  in  all  auxiliary  magazines.  Code 
word,  ZAYVU. 


A-P-L  Matrix  Information 

GOTHIC  No.41 

Alternative  Figures  for  Melroblack  No.  2 

TRIANGLE  NUMBER           CODE  WORD 

18A1035 ZARUF 

24A1035 
30A1035 
36A1035 
42A1035 
48A1035 
60A1035 
72A1035 
84A1035 
96A1035 
120A1035 
144A1035 

GOTHIC  N( 

Alternative  Figur 
18A1034 
24A1034 
30A1034 
36A1034 

,    ZARUL 

ZARUS 

ZARUY 

ZARVA 

ZARYO 

ZARZU 

ZASAB 

ZECHI 

ZECIM 

ZECIT 

ZECiZ 

>.  40 

;s  for  Metrolite  No.  2 
ZARJE 
ZARKI 
ZARLO 
ZARMU 

42A1034 

, .     ,    ZARNA 

48A1034 
60A1034 
72A1034 
84A1034 
96A1034 

ZAROD 
ZAROK 

ZAROR 

ZECBI 

ZECCO 

120A1034               ZECDU 
144A1034               ZECFA 

GOTHIC  No.  39 

Alternative  Figures  for  Metrothin  Mo.  2 
18A1033               ZARBA 
24A1033               ZARCE 
30A1033               ZARDI 
36A1033,            .ZAREB 

42A1033 ZAREH 

48A1033.       ...ZAREN 
60A1033                ZARFV 

72A1033 
84A1033 

ZARFO 
ZEBZl 

96A1033 

ZECAD 

120A1033 

ZECAK 

144A1033                ZECAR 

GOTHIC  No.  45 

Alternative  Figures  for  Melroblack  No.  2 
18A1071            .  .ZIBSI 
24A1071                ZIBTn 

30A1071 
36A1071 
48A1071 
60A1071 

ZIBUM 

ZIBUT 

ZIBUZ 

ZIBYI 

GOTHIC  No.  44 

Alternative  Figures  for 

Metromedium  No.  2 

18A1070              .ZIBOF 

24A1070                ZIBOL 

30A1070 

ZIBOS 

36A1070 

ZIBOY 

48A1070 

ZIBPA 

60A1070 ZIBRE 

GOTHIC  No.  42 

Alternative  Figures  for  Metrothin  No.  2 
18A1069            .     ZIBIK 

24A1069 

ZIBIR 

30A1069 

ZIBJA 

36A1069 

ZIBKE 

48A1069 
60A1069 

ZIBLI 

ZIBMO 

668  c 


TWO  BOOKS 


in 


METRO 
No.  2 


WILDERNESS 


mer-like  and  the  sun  shone  through  diamond-dripping 
trees.  And  to-day  I  have  written  from  early  morning  be- 
fore breakfast  until  now,  eleven  at  night.  I  have  decided 
to  go  to  Seword  in  a  few  days.  It  hos  become  necessary 
to  go  back  to  New  York  very  soon.  I  told  Rockwell  of 
this  to-day  and  his  eyes  have  scarcely  been  dry  since.  He 
has  reasoned  with  me  and  inquired  into  every  detail  of 
the  situation.  He  doesn't  want  to  go  to  New  York  nor 
even  to  live  in  the  country  in  the  East.  There'll  be  no 
ocean  near  nor  any  warm  pond  for  bathing.  And  not  even 
the  thought  that  elsewhere  he'd  have  playmates  weighs 
against  his  love  for  this  spot. 

You  should  see  Sir  Lancelot  now.  His  clothes  are  out 
grown  and  outworn.  They  hang  in  tatters  about  him.  His 
trousers  are  burst  from  the  knee  to  the  hip,  his  overalls 
that  cover  them  are  rags.  His  shirt  is  buttonless  but  for 
two  in  front.  From  above  tattered  elbows  his  sleeves  hang 
in  ribbons.  His  hair  is  long  and  shaggy;  where  it  hung 
over  his  eyes  I  have  cut  it  off  short.  But,  his  fair  cheeks 
are  as  pink  as  roses,  his  eyes  are  beautiful  and  blue,  his 
lips  are  red,  and  his  face  glows  always  with  expression.  So 
we  don't  care  a  rap  for  the  rest— only  Rockwell  does! 
One  day  after  he  had  regarded  for  a  long  time  a  certain 
unfortunate  photograph  of  himself  in  which  he  looked 
like  an  idiot,  he  said,  "Father,  I'd  like  to  dress  up  some 
day  and  put  on  my  best  clothes  and  brush  my  hair,— be- 
cause I  want  to  see  if  I  really  look  like  I  do  in  this  pic- 
ture." Rockwell  loves  to  look  well  and  it's  a  real  treat  for 
him  to  dress  up.  So,  that  being  the  case  and  his  tidy 
nature  being  so  well  assured  I  don't  trouble  a  bit  to  adorn 

150 


I  I  have  looked  at  thee  and  ceased  not  this  night. 

)\  Thy  beauty  has  troubled  me.  Thy  beauty  has  griev-  [ 

ously  troubled  me,  and  I  have  looked  at  thee  over- 1 

much.  Nay,  but  I  will  look  at  thee  no  more.  One  | 

I  should  not  look  at  anything.  Neither  at  things,  nor  | 

I  at  people  should  one  look.  Only  in  mirrors  is  it  well  \ 

I  to  look,  for  mirrors  do  but  show  us  masks.  Oh !  oh !  | 

i  bring  wine!  I  thirst.  .  .  .  Salome,  Salome,  let  us  be  | 

I  as  friends.  Bethink  thee  ...  Ah !  what  would  I  say?  j 

iWhat  was't?  Ah!   I   remember  it!  .  .  .  Salome,— j 

\  nay  but  come  nearer  to  me,  I  fear  thou  wilt  not  I 

—  Salome,  thou  knowest  my  white 

autiful  white  peacocks,  that  walk 

between  the  myrtles  and  the  tall  I 

ir  beaks  are  gilded  with  gold  and  e 

they  eat  are  smeared  with  gold,  \ 

e  stained  with  purple.  When  they  \ 

comes,  and  the  moon  shows  her-  i 

ens  when  they  spread  their  tails.  \ 

y  walk  between  the  cypress-trees  \ 

les,  and  each  has  a  slave  to  tend  = 


iv^ 


Above:  A  page  from  the  Peter  Pauper  Press  Edition  of 
Salome  set  in  12  point  Metrothin  No.  2,  4  point  leaded. 
The  rule  used  here  is  3  point  Matrix  Slide  No.  1686. 
In  the  original  this  rule  was  printed  in  a  third  color. 

Left:  A  page  from  Wilderness,  designed  by  Peter  Bei- 
lenson,  published  by  the  Modern  Library,  set  in  8  point 
Metrolite  No.  2,  3  point  leaded. 


^^^^ 


Jj 


J 


yj 


J) 


LINOTYPE 

NARCISS 


^ 


^ 


v^ 


^ 


Narciss,  the  brilliant  decorative  inline  letter  de- 
signed bv  Walter  liemann,  one  of  the  foremost 
modern  German  designers,  has  achieved  great 
popularity  both  in  Europe  and  America  in  rela- 
tively few  years.  Its  sophisticated  design  and  spar- 
kle add  lustre  to  printing  in  many  diverse  fields. 
For  display  in  periodical  advertising  and  com- 
mercial printing  it  is  practically  in  a  class  by  itself. 
Linotype  Narciss,  an  exact  reproduction  of  the 
original  face,  is  available  in  sizes  from  lo  to  36 
point  inclusive,  and  for  the  All-Purpose  Linotype 
in  18,  24  and  36  point  sizes. 


(LINOTYPE   -) 


^ 


=^ 


^ 


=^ 


<^^^^ 


Mergeethaler  Limotype  Company 
Brooklyn^  Ne"NvYork 

NKW  YORK    CriY,    CHICAGO.    SAN    1' I!  A  NC I  SCO.    NIJW    OKI.KANS 
CANADIAN    IINOl'VI'K,    I.IMIII'n,     rOKONIO,    CANADA 

Representatives  in  the  Piineipal  Cities  of  the  World 


fr" 


fr 


e 


(r 


LINOTYPE  NAMCISS 


COMPARISOl^     OF     SIZES 

in  PiiiTit   (inA123)  Lower  case  alplialiet.  141   points.  FiKure  1.  .0SS3:  2  to  0,  .0692 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TEMMS  OF 
How  is  om©  to  assess  amd  ©valiiate  a  type  face  in  terms  of  its  estlhetic  desig  1234 

12  Point  (12A127)  Lower  case  alplialiel.  170  points.  Fisure  1.  .0692;  2  to  0.  .083 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN 
Hoiv  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  est  1234 

H  Point  (14AS.1)  Lower  case  alphabet.  184  points.  Figure  1.  .083;  2  to  0.  .0968 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FA 
How  is  oe©  to  assess  and  evalmiait©  a  type  face  in  terms  of  1234 

18  Point   (IXA2-4'')  Lower  case  alphahel.  211  points.   Fisnre  1,  .0068;  2  to  0.  .1245 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TY 
Hoi^^  is  one  to  assess  and  evaluate  a  type  face  in  1 1234 

21    Point   (21A7)  I  owcr  ra-e  alphabet.  262  p..ints,   Fiuure  1.  .1107;  2  to  0.  .1383 

HOW  IS  ONE  TO  ASSESS  AND  EVALUA 
Ho^w^  is  one  to  assess  and  evaluate  a  typ  1234 

24  Point   (24A211)  Lower  case  alphabet.  .105  points.  FiKUre  1.  .1245;  2  to  0.  .166 

HOW  IS  ONE  TO  ASSESS  AND  EV 

Ho"W"  is  one  to  assess  and  evaluat  1234 

30  p.nnf  (.10AI59)  Lower  case  alphabet.  353  p.iints.  FiRure  1.  .1383;  2  to  0,  .1798 

HOW  IS  one  to  assess  and  e  1234 

.16  Point  (36A89)  Lower  case  alphabet.  414  points.  Figure  1.  .166;  2  to  0,  .2352 

HOW  IS  one  to  assess  1234 


LIST   OF   CHARACTERS    IN    FONT 

ABCDEFGHIJKLMNOPQMSTUVWXYZ&^CE 

abcdefghijklmnopqrstiiiiviyxyzfiflffffiffl 

1234567890$£,,s;?!/'*  t  $n  (  )  [  | »  @% 

—■■■\%V4%V2ysy4Vs 


670 


;   LINOTYPE  NARCISS    ; 

b 6 


1  0    1*  o  I  I\  1 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TEEMS  OF 
Ho^w  is  ome  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Wihy  do  the  pace-makers  in  the  art  of  printing  rave  over  a  speciific  face  of 
type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  syQs'^ 
Good  design  is  always  practical  design.  And  ^what  they  see  in  a  good  type  de:; 
sign  is/  partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has  a  "heft" 
and  balance  in  all  of  its  parts  Just  right  for  its  size,  as  any  good  tool  has.  Your 
good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly  the 
^work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and 
weak,  no  waste  of  material  and  no  lack  of  strength.  And,  beyond  that,  the 
chair  may  have  been  made  by  a  man  who  ^worked  out  in  it  his  sense  of  fine 
shapes  and  curves  and  proportions:  it  may  be,  actually,  a  work  of  art.  The 
same  thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  letter  (if  a  true 
artist  made  it)  will  have,  besides  its  good  looks,  a  siiitability  to  the  nth  degree 
to  be  sat  in,  or  stamped  on  paper  and  read.  That  explains,  in  a  way,  why  the 

fl7V,i  point  l,;ul,;l) 

A]BCDEF(GHIJKLMNOPQKSTUVWXYZ& 
albcdefghijklmnopqrstuvwxyziiflffffiffl  ($£,.;; V?.'*t$§«I)  1234567890 

Mi:trix  hil.tnualioii  :  lOAI-M.    l-nwer  L-.T<e  .iIt)!!..!.!:-!  .    Ml    in.iuls.    I'Jkiiil'  1,   .li^St;  J  lo  I).  .Il(,v.';  i ,n:i.  pcricil   .•iiiil  thin   -.iL-u-e. 

.0.141.,    Runs  III  'HI  ch:niiiel  inaga/iiic.  I  oile  wmiiI.   ,\IASV. 


-(LINOTYPE     > 


12    I*  O  1  I\  T 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN 
Ho^v  is  one  to  assess  aaid  evaluate  a  type  face  in  terms  of  its  esthetic 
design?  Wlhy  do  the  paces^makers  in  the  art  of  printing  rave  over 
a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so  supers 
latively  pleasant  to  their  eyes?  Good  design  is  al^yays  practical 
design.  And  ^vs^hat  they  see  in  a  good  type  design  is^  partly^  its  ex^ 
ceilent  practical  fitness  to  perform  its  ^H^ork.  It  has  a  ""heft"  and 
balance  in  all  of  its  parts  iust  right  for  its  size^  as  any  good  tool 
has.  Yoiur  good  chair  has  all  of  its  parts  made  nicely  to  the  right 
size  to  do  exactly  the  ^n^ork  that  the  chair  has  to  do,  neither  cliMnsy 
and  thick;,  nor  ""skinny"  and  ■H'eak,  no  >^^aste  of  material  and  no 
lack  of  strength.  And,  heyond  that,  the  chair  may  have  been  miade 
by  a  man  -who  ^vorked  oiut  in  it  his  sense  of  fine  shapes  and  curves 

abcdefghi,j]k:lmnopqhstuvwxyz.& 

abcdefghiiklmnop.qrsti]ivwxyzfiflffffiffl  ($£,.:;"/?:!*tl§'*I)  Il2345'678 

.WIT   i-iisf  .ilpli.ili.-l.    17(1  iii.iiils.    l.'iKiirc   1.   .l)(,'12;  2   III  0.    .O.H.!;   c.nnni.-i.    in-rin,!    .iiiil   tliiii    v,ii„-,., 
1.-    (■..lU-  U..11I.  M.A'I'A. 


Mull 

i.r   Info 

1  llUllio 

II  ■   I  JA  1 

.(U.S. 

Kiiiis  ii 

1    'III   ,  1, 

.iiiiiel  111 

671 


p    Lli^OTYPE  NAKCISS 
\ 


14    P  «  I  1\  T 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FA 
Ho'H^  is  one  to  assess  and  ©valmat©  a  type  face  in  terms  of  its 
esthetic  desige?  Why  do  the  pace-makers  in  the  art  of  prints 
img  rave  over  a  specific  face  of  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  de^ 
sign  is  al^H^ays  practical  design.  And  ^H^hat  they  see  in  a  good 
type  design  is^  partly j,  its  excellent  practical  fitness  to  per^ 
form  its  ^H'ork.  It  has  a  ''''heft"'  and  balance  in  all  of  its  parts 
Jmist  right  for  its  size^  as  any  good  tool  has.  Your  good  chair 
has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly 
the  work  that  the  chair  has  to  doy  neither  clumsy  1234567890 

( tzi'o  point  traded) 

ABCDEF(GHIJKLMNOPQMSTUVWXYZ& 
abcdefghiiklmnopqrstiivwxyzfiiElffffiffl($£^.j//?!*t$§^) 

Mtitiix  Injarmatitin:  14A«5.  Lower  c.ise  alpliabct,  1R4  points.  Figure  1.  .OX.?:  2  to  0.  .0968;  comma.  .0(>0;  period.  .045;  thin 
sliace,  .n4.S4.  Rims  in  90  channel  niaRa/iiie.  Code  word.  MAI'R. 


C«o  LINOTYPE"") 

I  H    P  O  I  ^  T 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TY 


^  IS  one  to  assess  and  evaluate  a  type  race  m  terms 
of  its  esthetic  desige?  "Wliy  do  the  pace-makers  in 
the  art  of  printing  rave  over  a  specific  face  of  type? 
^What  do  they  see  in  it?  Why  is  it  so  superlatively 
pleasant  to  their  eyes?  Good  design  is  al^n^ays  prac^ 
tical  design.  And  ^n^hat  they  see  in  a  good  type  design 
is,,  partly^  its  excellent  practical  fitness  to  perform 
its  ^H^ork.  It  has  a  ^^hef  t""  and  balance  in  all  of  (S^.i/^"?!) 


(t-aui  f'ii't  lr,idrd) 


ABCDEFGHIJKLMNOPQMSTUVWXYZ& 
abcdefghijkl]mnopqrstiiivi^xyzl234567S^ 


Matrix  lulormafinn :  18A249.  I.ower  case  alpliahet.  211  points.  Kignre  1.  .09fi8;  2  to  0.  .124!;.  Runs  in  72  channel  magazine;  also 
lower  case  in  cap  channels  of  90  channel  magazine  with  caps  and  figures  in  34  channel  auxiliary  magazine.  16  point  alignment. 

Code  word.  MATIZ. 


672 


I    LINOTYPE  NAMCISS 
% 


HOW  IS  ONE  TO  ASSESS  AND  E  V  ALU  A 
H©^H^  is  one  to  assess  and  evaliuiate  a  type 
face  ie  terms  of  its  esthetic  desige?  Why 
do  the  pace-makers  ie  the  art  of  prietieg 
rave  over  a  specific  face  of  type?  What  do 
they  see  ie  it?  Why  is  it  so  superlatively 
pleasant  to  their  eyes?  (Good  desige  is  at 
"H^ays  practical  desige.  And  i^hat  they  see 

(,ni,-  f"i'>l  Irarlnll 

\hiliis  hifi'iiiuituin  _'1A7.  Lower  t.-isr  .ilijhaliel.  Ji.-'  p..iii1s,  Imhuip  1.  .11117;  2  t..  II.  .Ii.s.1.  Run-  in  T2  ili;niiii-l  iii:ii;;i/in<- :  .iK,, 
liiwer  case.  c.\i.t'l't  nt  and  w.  in  caii  tli.iniiels  iil  'HI  ili.iiMifl  !ii;ii;;i/iite  with  i;ii>s  and  liKUit'S  in  .1-1  rli.nniel  an\iliar\  ni;m,i/inc. 
IS  pnint  aliKiiineiit.  (nd,-  u.ird.  .\I;WIC. 


-(LINOTYPE'    )- 
2  1     I'OINT 


HOW  IS  ONE  TO  ASSESS  AND  E V 
H(DW  is  one  to  assess  and  evaluate  a 
type  face  in  terms  of  its  esthetic  (de^ 
sign?  Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  i  abc 
defghijklmnopqrstiiv^s^xyz  {%^.% 


f.nitl  l,-ad.;l) 


ABCDEFGHIJKLMNOPQKST 
UVWXYZ&  12345(67890 

Mtiliiv  /nil. 1111,1/;,. 11  -MA.Ml.  l.,.W(.r  case  alpliatiet.  .IIIS  i>,nn|.i.  KiKnre  1,  .IJ■^^:  2  t,i  11.  .lf,r,.  Runs  ni  7J  <  li.inn<-l  niaKa/inc;  aK 
I,.wpr  lasc.  .-y,,-!,!  ni  .in,!  u.  in  ...ii  ,li:inncK  ,,i  '.ii  .hannel  ni:,i;:,/ine  with  i  .iii-  .-,11, 1  limir.-s  ni  \Vi,lc  H  .lianiud  .nixiliai.v  m.ma 
/inc.  .'J  iM.inl  :iliKniue-nt,  I  ,„i,-  w.,i,i.   M.WVI. 


673 


LINOTYPE  NARCISS    ^. 


30    POIIVT 


Ho^H^  is  one  to  assess  and  evaluate 
any  type  face  in  terms  of  its  es^ 
thetic  design?  ^H^hy  do  the  pace^ 
malkers  in  the  printing  art  rave 
over  specific  type  faces?  ^What 

(tzvu  point  leaded) 

Matrix  Information:  30A159.  Lower  case  alpbaliet.  ^S.l  points.  Figure  1.  .13X3:  2  to  0,  .179K.  Runs  in  Wifie  72  channel  maga- 
zine; also  lower  case  in  cap  channels  of  72  channel  magazine  with  caps  and  figures  in  Wide  3-4  channel  auxiliary  magazine. 
28  point  alignment.  Code  word.  MAXO. 


-("°  LINOTYPE"" >- 
36    POIIVT 


Hoi^^  is  one  to  evaluate  and 
assess  type  faces  in  terms  of 
their  esthetic  design?  Why 
do  the  p  ahcdef  ghijklmnop 
qrstnvwxyz  ($^.;/^^?!)  12345 


(tn-<>  f^'iitl  hadrdi 


ABCDEFGHIJKLMNO 
PQESTUVWXYZ& 

Matrix  InUmmithni:  ^f^l\>^'^>.   I.ciwer  case  alphabet.  -114  p.ullts.   Figure  1.  .166;  2  to  0.  .2JS2.   Kims  ill  Wide  72  chatiiiel  niagazine 
aiul  in  Wide  .14  cliaiuiel  auxiliary  uiaga/ine.  .i4  point  alignmeul.  Code  word,   MAYB. 


674 


The  Honor  of  Your  Presence  is  Recf nested  at  a 

PRIVATE   SHOWING 

OBIGINAL  PAKIS  MODELS 

GOWNS  '   COATS  •  WRAPS 

FURS  and  HATS 

on 

TUESDAY,  SEPTEMBER  the  I4th 


PHILLIP  NELSON  &  COMPANi 

SIXTY^FOUM  FIFTH  AVENUE 


PKICE 

$198 


TAX    INCLUDED 


\,^\^^\^\^\^\^\^\^\^^S^\^\^\^\^\^\.^\i^\^\^>ii^\i^\^\^\^\^\^\^\^\^^\^\^' 


Ttif:  Invitation,  set  in  III.  IH  and  J4  p.iint  Xaiciss. 
with  IJ  and  U  pninl  (iaraincnd  li.dd  Nn.  J.  Dec... 
ration:   (i  iioml  (i-tj,  and  2  point  Matrix  Slide  41],'! 

ro/>  Riijlit :  Tag,  >-et  in  24  and  .16  point  Narciss. 
with  r,  point  Garaniond  Rold  No,  ,1,  Decoration:  6 
point  Matrix  Slide  No,  740. 

Righl  .    ;\dverliseniciit.    set   in    \2.    14   and   .1(1  point 

Narciss.    with    14   and   24   point    Caslon    old  l.ice. 

Decoration:  12  point  (l-.'^n  1<  and  L.  and  (,  i.oint 
Matrix  Slides  Nos.  514  and  42.1 


c^'^  THatmiral 
Italian  Gardens 


A  place  for  rsfieed  folks  to 
damce  amd  dine,  excellent  ser^ 
vace^  the  very  fimest  cmisiine. 
There  are  three  huiindred  seats  m 
the  diemg^room  and  in  additiom 
to  this  there  are  ten  private 
rooms  for  gatherings  that  desire 
siveness, 

HOTEL   BMOMMEL 

Bleecker   and  Canall  Streets 

FMANK  LEE,  Manager 


Ahi'vc:  Display  cald,  set   in    III,    12,   14  and  JO  point 
Narciss,  Decoration:  12  point  (;-.=i2  L. 


The  Everlasting  Charm 
of 

COLONIAL 
rURNITUEE 

No  vogue  of"  the  moment  will 
ever  rival  the  lasting  appeal  ot 
Early  American  Furniture.  Its 
dignity  and  richness,  its  simple 
artistic  heauty  and  sincerity,  set 
it  apart  from  any  modern  style 
and  therein  lies  the  popularity. 
We  would  like  to  have  the  pleas- 
ure of  meeting  you  personally  at 
our  show  rooms,  where  a  com- 
plete display  of  Colonial  fur- 
nishings are  shown. 

COLONIAL  FUMNITURE  CO. 
345  Motintvie^H^  Avenue      *      Boston 


PACIFIC  NAVIGATION  COMPANY 


AGENTS  AT 
TEN  DORCHESTER  AVENUE 
BOSTON,  MASS. 
FIFTY-FOUR  MAIN  STREET 

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SIXTY-ONE  BEACH  STREET 

LOS  ANGELES,  CAL. 


STMAW  HATS 

A  HAT  MAY  complement  the  natural 
distinction  of  a  well-formed  head. 

We  have  garnered  a  collection  of 
hats  which  every  gentleman  will  rec- 
ognize as  his  by  right  of  fine  work- 
manship and  of  design  . .  .  and  in  pro- 


JEWELKY 

LIVES  rOBEVE 

* 

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* 


Most  beauty  passes  like  a  flower— it 
has  its  moment  of  fragrance  and  is  gone. 

The  gem  lives  on  forever —  a  symbol  ot 
immortal  loveliness  and  personality. 

Never  before  have  gems  been  so  dis- 
creetly and  perfectly  mounted  as  at  the 
present  time.  In  this  crowning  hour  of 
the  jeweler's  art,  we  invite  you  to  view 
our  assemblage  of  gem  pieces  and  pearl 
necklaces. 

JOHNSON  &  COMPANY 


NEW 
BOOKS 


7 


FROM  THE  SHELVES  OF      ^ 
THE  BANCASTER  HOUSE 
BOOKSHOP 


Top  Letterhead,  set  in  21  point  Narciss.  with  10  point  Gara- 
nmiid  Bold  No.  3  Special  Two-Letter  Small  Caps.  Decora- 
tion: Linotype  rule  and  borders. 

Center  Left:  Card,  set  in  30  point  Narciss,  with  12  point 
Garaniond  Bold  No.  3.  Decoration:  6  point  Matrix  Slides 
Nos.    ir)5r,  and   171 6. 

Ccvtci-  Right:  Catalog  cover,  set  in  24.  30  and  36  point  Nar- 
ciss. 14  p()int  Garaniond  Bold  No.  3  and  in  point  Garamond 
Bold  No.  3  Special  Two-Letter  Small  Caps.  Decoration:  Lino- 
type rule  and  border^;,  with  4  point  Matrix  Slide  Brace  No. 
1113. 

7_r/A;  Advertisement,  set  in  12.  18.  24  and  30  point  Narciss, 
with  14  point  Garamond  No.  3.  Decoration:  .S  point  No.  423, 
and  2  point  Matrix  Slide  No.  404. 


NUMBER 

ONE 

SERIES 


With  ITALIC  and  SxM all  Caps 


>.       >.       »       »      COMPARISON     OF     SIZES       «       «       «       « 


5J^  Point  No.  1  with  Italic  and  Small  Caps  (5?/jA4)  Lower  case  alphabet,  89  points.  Figures,  .050 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  T 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of  12 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  face-makers  in  the  art  of  VB 

6  Point  No.  1  with  Italic  and  Small  Caps  {6A2)  Lower  case  alphabet,  101  points.  Figures,  .056 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN? 
How  is  one  to  assess  and  evaluate  a  t.vpe  face  in  terms  of  its  esthetic  design  ?  Why  do  the  pace-makers  12 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  Us  esthetic  design?  Why  do  the  pace-makers  vb 

7  Point  No.  1  with  Italic  and  Small  Caps  (7A4)  Lower  case  alphabet,  107  points.  Figures,  .059 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHET 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-ma  12 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-ma  VB 

8  Point  No.  1  with  Italic  and  Small  Caps  (Low,  8A98;  High,  8A10)  Lower  case  alphabet,  116  points.  Figures,  .059 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHE 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  AVhy  do  the  12 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  o/  its  esthetic  design?  Why  do  the  vb 

Made  with  liigh  and  low  alignments 

9  Point  No.  1  with  Italic  and  Small  Caps  {9A44)  Lower  case  alphabet,  1J7  points.  Figures,  .0622 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS 
How  is  one  to  a.ssess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  d  12 
Hoio  is  one  to  assess  and  evaluate  a  type  face  in  ierms  of  its  esthetic  designf  Why  d  vb 

10  Point  No.  1  with  Italic  and  Small  Caps  (lOAlO)  Lower  case  alphabet,  134  points.  Figures,  .070 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF 
How  is  one  to  assess  and  evahiate  a  type  face  in  terms  of  its  esthetic  design?  12 
How  is  one  to  assess  and  evahiate  a  type  face  in  terms  of  its  esthetic  design?  vb 

11  Point  No.  1  with  Italic  and  Small  Caps  (11A2)  Lower  case  alphabet,  144  points.  Figures,  .077 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TER 

How  is  one  to  assess  and  evahiate  a  type  face  in  terms  of  its  esthetic  desig  12 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  desig  vb 

12  Point  No.  1  with  Italic  and  Small  Caps  (12A2)  Lower  case  alphabet.  162  points.  Figures,  .084 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthe  12 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthe  vb 


-('LINOTYPE"  ')- 


List  of  Characters 
in  Two-Letter  Fonts  icith  Italic  and  Small  Caps 

ABCDEFGHIJKLMNOPQRSTUVWXYZ 
ABCDEFGHIJKLMNOPQRSTUVWXYZ 

ABCDEFGHIJKLMNOPQRSTUVWXYZ 

12345       abcdefghijklmnopqrstiivwxyz       67890 

VBCDE       aJjcdefijMjkhnnopqrstuvwxyz      fgrtj 

,.:;?!(!)*"  —  ^(Elt)&£$...         flflffffifflieoe 

,.^  ;?  !  AKiO" ^(E'7&n£pL         .   ../jYjfWMKH 

12345       Z&  :()flffiffl$3eoe       67890 
123  JfS       vd:()flJfiffl4(eoe       67890 


676 


NUMBER      ONE      SERIES 


5^2 
POINT 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FAC 
THE  PACE-MAKEltS  IN  THE  ART  OF  PRINTING  RAVE 


E  IN  TERMS  OF  ITS  ESTHETICS  DESIGN?  WHY  DO  T 
OVER  A  SPECIFIC  FACE  OF  TYPE?  WHAT  DO  THEY 

now  IS  ONE  TO  ASSESS  AND  EVAl.i;ATE  A  TVI'E  FACE  IN   TEUMS   OF  ITS  ESTHETIC  DESIGN?   WIIV   DO  THE   I'ArE-.MAKEKS   IN  T 


How  is  one  to  assess  and  evaluate  a  type  faee  in  terms  of 
its  esthetic  design?  Why  do  the  paee-iiiakers  in  the  art  of 
printing  rave  over  a  specitic  faee  of  type?  What  do  tliey 
see  in  it?  Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design.  And  wliat 
they  see  in  a  good  type  design  is.  partly,  its  excellent 
practical  fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as  any 
good  tool  has.  Y'our  good  chair  has  all  of  its  parts  made 
nicely  to  the  right  size  to  do  e.\actly  the  work  that  the 
chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny" 
and  weak,  no  waste  of  material  and  no  lack  of  strength. 
And,  be.vond  that,  the  chair  may  have  been  made  by  a 
nuin  who  worked  out  in  it  his  sense  of  tine  shapes  and 
curves  and  proportions:  it  may  be.  actually,  a  work  of 
art.  The  same  thing  holds  for  shapes  of  letters.  And  your 
chair,  or  your  letter  (if  a  true  artist  made  it )  will  have, 
besides  its  good  looks,  a  suitability  to  the  nth  degree  to 
be  sat  in,  or  stamped  on  paper  and  read.  That  explains, 
in  a  way,  why  the  experts  rave  over  the  tine  shapes  of  let- 
ters :  but  it  fails  to  explain  wherein  the  shapes  are  fine. 
If  you  seek  to  go  further  with  the  inquiry,  theories  will 
be  your  only  answer.  Here  is  a  theory  that  the  proponent 
thinks  nuiy  have  sense  in  it :  Fine  type  letters  were,  in 
the  first  place,  copies  of  fine  written  letters.  Fine  written 
letters  were  fine  because  they  were  produced  in  the  most 

How  is  one  to  axKCKn  and  evaUmtr  a  type  face  in  ternifi  of 
its  esthetic  design?  Why  do  the  paee-makeis  in  the  art  of 

(solid) 


How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of 
its  esthetic  design?  Why  do  the  pace-maki'rs  in  the  art  of 
printing  rave  over  a  specific  face  of  type?  What  do  they 
see  in  it?  Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design.  And  what 
they  see  in  a  good  type  design  is,  partly,  its  excellent 
practical  fitness  to  perforiu  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as  any 
good  tool  has.  Your  good  chair  has  all  of  its  parts  made 
nicely  to  the  right  size  to  do  exactly  the  work  that  the 
chair  has  to  do,  neither  clum.sy  and  thick,  nor  "skinny" 
and  weak,  no  waste  of  material  and  no  lack  of  strength. 
And,  be.vond  that,  the  chair  ma.v  have  been  made  by  a 
man  who  worked  out  in  it  his  sense  of  fine  shapes  and 
curves  and  proportions:  it  may  be,  actually,  a  work  of 
art.  The  same  thing  holds  for  shapes  of  letters.  And  your 
chair,  or  your  letter  (if  a  true  artist  made  it)  will  have, 
besides  its  good  looks,  a  suitability  to  the  nth  degree  to 
be  sat  in,  or  stamped  on  paper  and  read.  That  explains, 
in  a  way,  why  the  experts  rave  over  the  fine  shajies  of  let- 
ters ;  but  it  fails  to  explain  wherein  the  shapes  are  fine. 
If  you  seek  to  go  further  with  the  inquiry,  theories  will 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of 

its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of 

(one  point  leaded) 


AH('DEFGni.IKLMNOPQRSTDVWXYZ& 
AllCDEFGHIJKLMNOPQRSTUVWXYZii 

ABCDEFGHIJ  KE.MNOrQHSTfVWXVZi 

abcdefghijklmnopqrstuvwxyzfiflftfiiffl  12345G7S90($£,. ::'-'?  !*t  > 
ahcdcfghijkhnnopfjrstuvwjyzfitlffffiffl  123l,5ti789U( $£,.:;'-' f  !   t> 

Matrix  Information :  S'AA'^-  Eength  of  lower  case  alphabet.  89  points.  Figures.  .050.  Will  run  in  90  channel  layout.  Code  word. 
MEAN. 


-(  mLINDTYPE" "^ 


6 

POINT 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN? 
WHY  DO  THE  TACE-MAKEKS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  OF  T 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN  ?  WHY  DO  THE  PACE-M 

How  is  one  to  assess  and  evaluate  a  type  face  in 


How  is  one  to  assess  and  evaluate  a  t.vpe  face  in 
terms  of  its  estlietic  design  ?  Why  do  the  pace-mak- 
ers in  the  art  of  printing  rave  over  a  specific  face 
of  type  V  What  do  they  see  in  it  ?  Why  is  it  so  super- 
liitively  pleasant  to  their  eyes?  Good  design  is  al- 
ways practical  design.  And  wliat  they  see  In  a  good 
type  design  is,  partly,  its  excellent  practical  fitness 
to  perform  its  work.  It  has  a  "heft"  and  balance  in 
all  of  its  parts  just  right  for  its  size,  as  any  good 
tool  has.  Your  good  chair  has  all  of  its  parts  made 
nicely  to  the  right  size  to  do  exactly  the  work  tliat 
the  chair  has  to  do,  neither  clumsy  and  thick,  nor 
"skinny"  and  wetik,  no  waste  of  material  and  no 
lack  of  strength.  And,  beyond  that,  the  chair  may 
have  been  made  by  a  man  who  worked  out  in  it  his 
sense  of  fine  shapes  and  curves  and  proportions  :  it 
may  be,  actually,  a  work  of  art.  The  same  thing 
holds  for  shapes  of  letters.  And  your  chair,  or  your 
letter  (if  a  true  artist  ni:ide  it)  will  have,  besides 
its  good  looks,  :i  suitability  to  the  /(th  degree  to 
be  sat  in,  or  stamped  on  paiier  and  read.  That  ex- 
plains, in  a  way,  why  the  experts  rave  over  the  fine 
shapes  of  letters  ;  but  it  fails  to  explain  wherein 

How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  o/  its  estlietic  dcsii/n?  ll'/ii/  rfo  the  pnce-mak- 

I  .-olid) 


terms  of  its  esthetic  design '.'  Why  do  the  pace-mak- 
ers in  the  art  of  printing  rave  over  a  specific  face 
of  type  ?  What  do  they  see  in  it  ?  Why  is  it  so  super- 
latively pleasant  to  their  eyes?  Good  design  is  al- 
ways practical  design.  And  what  they  see  in  a  good 
type  design  is,  partly,  its  excellent  practical  fitness 
to  perform  its  work.  It  has  a  "heft"  and  balance  in 
all  of  its  parts  just  right  for  its  size,  as  any  good 
tool  has.  Your  good  chair  has  all  of  its  parts  made 
nicely  to  the  right  size  to  do  exactly  the  work  that 
the  chair  has  to  do,  neither  clumsy  and  thick,  nor 
"skinny"  and  weak,  no  waste  of  material  and  no 
lack  of  strength.  And,  beyond  that,  tlie  chair  may 
have  been  made  by  a  man  who  worked  out  in  it  his 
sense  of  fine  shapes  and  curves  and  proportions  :  it 
may  be,  actually,  a  work  of  art.  The  same  thing 
holds  for  sliapes  of  letters.  And  your  chair,  or  your 
letter  (if  a  true  artist  made  if)  will  have,  bedsides 
its  good  looks,  a  suitability  to  the  nth  degree  to 
How  is  one  to  assess  and  evaluate  a  tape  fare  in 
terms  of  its  estlietic  design?  Whii  do  the  pace-mak- 
(one  I'oint  leaded! 


Ar.Cl)EFGIII.lKL.\lNOPt}RSTUVWXYZ& 

ABCDEFGHI.IKLMNOPQRSTUVWXYZd 

ABCDEFO  HI.I  KI.M  NOl'QUSTU  V  W.X  VZcSt 

alicdefgliiiklmnopQrstuvwxvzfiflfTffilH  1234.'".(>7S00  (!?£,.: 
abedefijhijklmnopqrstuvwxyzfiflffftiffl  12Jli567S<J0  ($£,.: 


:'-'?!»t) 


Matrix  Info 
MKAV. 


:  6A2.  Length  of  lower  case  alphabet.  101  points.  Figures.  .OSf^.  Will  run  in  90  channel  layout.  Code  word. 


677 


7        »      »       »       »     N  U  M  B  E  R      O  N  E      S  E  R  I  E  S     « 

POINT 

now  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IxN  TERMS  OF  ITS  ESTHET 
DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A 

HOW  IS  OXE  TO  ASSESS  A^'D  EVALUATE  A  TYPE  FACE  IX  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-mak- 
ers in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so  super- 
latively pleasant  to  their  eyes?  Good  design  is  always  practical  design.  And  what  they  see  in  a  good 
type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has  a  "heft"  and  balance 
in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  joarts 
made  nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and 
thick,  nor  "skinny"  and  weak,  no  waste  of  material  and  no  lack  of  strength.  And,  beyond  that,  the 
chair  may  have  been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and  curves  and 
proportions  :  it  may  be,  actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of  letters.  And  your 
chair,  or  your  letter  (if  a  true  artist  made  it)  will  have,  besides  its  good  looks,  a  suitability  to  the 
nth  degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That  explains,  in  a  way,  why  the  experts  rave 
over  the  fine  shapes  of  letters  ;  but  it  fails  to  explain  wherein  the  shapes  are  fine.  If  you  seek  to  go 
further  with  the  inquiry,  theories  will  be  your  only  answer.  Here  is  a  theory  that  the  proponent 
thinks  may  have  sense  in  it :  Fine  type  letters  were,  in  the  first  place,  copies  of  fine  written  letters. 
Fine  written  letters  were  fine  because  they  were  produced  in  the  most  direct  and  simple  way  by  a 
tool  in  the  hands  of  a  person  expert  in  its  use,  by  a  jierson,  moreover,  who  was  an  artist  (i.e.,  a  per- 
son equipped  to  make  sound  judgments  about  lines,  curves,  proportions,  etc.).  The  artist  of  that 
moment  when  printing  was  invented  who  furnished  the  fine  written  patterns  for  type  was  (luckily 
for  printing)  working  at  the  top  notch  of  a  fine  tradition  of  calligraphy.  He  was  making  sound 
judgments  about  lines  and  curves  and  proportions  of  letters.  He  had  resun-ected  an  ancient  distin- 
guished style  of  writing  and  had  added  to  it  the  quality  of  his  own  fine  taste.  His  letters  flowed  from 
his  pen  easily  and  simply,  without  any  tricks  or  affectations  or  extraneous  embellishments.  He  was 
simple  enough  and  artist  enough  to  let  the  implement  itself  (and  his  facile  hand)  shape  the  product. 
The  fine  qualities  of  this  artist's  letter-forms  were  carried  over  into  the  metal  types  and  sealed  up 
there,  like  butterflies  in  amber.  It  is  argued,  however,  that  the  ascription  of  beauty  to  type  letters  by 
this  route  {i.e.,  via  the  standards  of  calligraphy)  is  false  logic.  If  the  natural  and  simple  and  taste- 
fully controlled  use  of  an  implement  produces  a  fine  result,  why  not  start  with  the  process  of  found- 
ing type  instead  of  with  the  process  of  writing  with  a  pen?  Why  not  cut  punches  and  strike  matrices 
and  cast  type  metal  simply  and  naturally  and  tastefully,  and  make  types  that  reflect  a  suitable 
artistic  use  of  the  process  of  typefounding?  I  think  that  the  argument  is  esthetically  sound.  There  is 
no  common  opinion  about  the  legibility  or  grace  or  vigor  of  various  type  faces  that  can  be  quoted  as 
Hoiv  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design'?  Why  do  the  pace-mak- 
ers in  the  art  of  printing  rare  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so  super- 

(two  point  leaded) 

How  is  one  to  assess  and  evaluate  a  type  face  in  How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace-  terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  .spec.nc  makers  in  the  art  of  printing  rave  over  a  specific 
face  of  type  i  \\  hat  do  they  s_ee  in  it?  ^^  hy  is  it  f^^.^  ^f  type?  What  do  they  see  in  it?  Why  is  it 
so  superlatively  pleasant  to  their  eyes  r  Good  de-  i\-  i  i  ,.  ,.  ii  •  o /~i  i  i 
sign  is  always  practical  design.  And  what  they  ««  superlatively  pleasant  o  their  eyes?  Good  de- 
see  in  a  good  type  design  is,  partly,  its  excellent  «'Sn  is  always  practical  design.  And  what  they 
practical  fitness  to  perform  its  work.  It  has  a  see  in  a  good  type  design  is,  partly,  its  excellent 
"heft"  and  balance  in  all  of  its  parts  just  right  practical  fitness  to  perform  its  work.  It  has  a 
for  its  size,  as  any  good  tool  has.  Your  good  "heft"  and  balance  in  all  of  its  parts  just  right 
chair  has  all  of  its  parts  made  nicely  to  the  right  for  its  size,  as  any  good  tool  has.  Your  good 
size  to  do  exactly  the  work  that  the  chair  has  pij^ir  has  all  of  its  parts  made  nicely  to  the  right 
ilJ^^'Jl?^  ''  t'lumsy  and  thick,  nor  f  in>iy  gi^e  to  do  exactly  the  work  that  the  chair  has 
and  weak,  no  waste  of  material  and  no  lack  ot  ^  ,  .^,  /  i  ^i  ■  i  a  ,  ■  „ 
strength.  And,  beyond  that,  the  chair  may  have  to  do,  neither  clumsy  and  thick,  nor  skinny 
been  made  by  a  man  who  worked  out  in"  it  his  and  weak,  no  waste  of  material  and  no  lack  of 
sense  of  fine  shapes  and  curves  and  proportions  :  strength.  And,  beyond  that,  the  chair  may  have 

(solid)  (uiie  point  leaded) 

ABCDEFGHIJKLMNOrQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZd 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflffffiffl  1234567890($£,.: ;'-'?  !*t) 
ahcdefghijkImnopqrstuvwj-y;:fiflffffiffl  l.i.3/,567800($£..: ;'-'? .'  V 

Matrix  Information  :  7A^.  Length  of  lower  case  alphabet,  107  points.  Figures,  .059.  Will  run  in  90  channel  layout.  Code  word, 
MEIJU. 


678 


..     NUMBER      ONE      SERIES     «       «       «       «         8 

POINT 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTIIE 
DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTIN(;  RAVE  OVER  A 

now  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  KSTUETIC  DESIGN?  WHY  DO  T 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  cstliotic  design?  Wliy  do  the 
pac'O-malvors  in  tlie  art  of  printing  rave  over  a  specitic  face  of  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  practical  design.  And 
what  they  see  in  a  good  type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its 
work.  It  has  a  "heft"  and  l)alance  in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool 
has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly  the  work 
that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of  mate- 
rial and  no  lack  of  strength.  And,  beyond  that,  the  chair  may  have  l)een  made  by  a  man  who 
worked  out  in  it  his  sense  of  tine  shapes  and  curves  and  proportions:  it  may  be,  actually,  a 
work  of  art.  The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  letter  (if  a 
true  artist  made  it  i  will  have.  Iiesides  its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat 
in,  or  stamped  on  paper  and  read.  That  explains,  in  a  way,  why  the  experts  rave  over  the  tine 
shapes  of  letters  ;  hut  it  fails  to  explain  wherein  the  shapes  are  fine.  If  you  seek  to  go  further 
with  the  inquiry,  theories  will  he  your  only  answer.  Here  is  a  theory  that  the  proponent  thinks 
may  have  sense  in  it :  Fine  type  letters  were,  in  the  first  place,  copies  of  fine  written  letters. 
Fine  written  letters  were  fine  liecause  they  were  produced  /*(  the  most  direct  and  siin/jlc  icay 
by  a  tool  in  the  hands  of  a  person  expert  in  its  use,  by  a  person,  moreover,  who  was  an  artist 
{i.e.,  a  person  eipiipped  to  make  sound  judgments  about  lines,  curves,  proportions,  etc.).  The 
artist  of  that  moment  when  printing  was  invented  who  furnished  the  line  written  patterns 
for  type  was  (luckily  for  printing)  working  at  the  top  notch  of  a  fine  tradition  of  calligraphy. 
He  was  making  sound  judgments  about  lines  and  curves  and  proportions  of  letters.  He  had 
resurrected  an  ancient  distinguished  style  of  writing  and  had  added  to  it  the  quality  of  his 
own  line  taste.  His  letters  flowed  from  his  pen  easily  and  simply,  without  any  tricks  or  affec- 
tations or  extraneous  embellishments.  He  was  simple  enough  and  artist  enough  to  let  the 
implement  itself  (and  his  facile  hand)  shai)e  the  product.  The  line  (lualities  of  this  artist's 
letter-forms  were  carried  over  into  the  metal  types  and  sealed  up  there,  like  l)utterllies  in 
amber.  It  is  argued,  however,  that  the  ascription  of  beauty  to  type  letters  liy  this  route  (i.e., 
How  is  one  to  assess  and  eraluate  a  type  face  in  terms  of  its  esthetic  design?  M'hy  do  the 
paec-inakers  in  the  art  of  printing  rare  orer  a  specific  face  of  type?  Wliiit  do  they  see  in  it:' 

(two  toint  leaded) 

How  is  one  to  assess  and  evaluate  a  type  face  How  is  one  to  assess  and  evaluate  a  type  face 

in  terms  of  its  esthetic  <lesign?  Why  do  the  in  terms  of  its  esthetic  design?  Whv  do  the 

pace-makers  in  the  art  of  printing  rave  over  pace-makers  in  the  art  of  printing  rave  over 

a  specitic  face  of  type?  What  do  they  see  in  ^  j„^  ^.^^^  ,^j         .,  ^^.,^.^^  ,^,,  .j^^,^,  ^^,^  j,^ 

It.'  Why  IS   it  so  superlatively  pleasant  to  .,./„,,       .     .^  ,    .-     ,        , 

their  eves?  (iood  design  is  alwavs  practical  ^^  •    ^^  ^^^  ^^  '^  ^"  superlatively  pleasant  to 

design.' And  what  they  see  in  a  good  type  de-  t^'^'ii'  eyes?  (iood  design  is  always  practical 

sign  is,  partly,  its  excellent  practical  fitness  design.  And  what  they  see  in  a  good  type  de- 

to  perform  its  work.  It  has  a  "heft"  and  lial-  sign  is,  partly,  its  excellent  practical  litness 

ance  in  all  of  its  parts  just  right  for  its  size,  to  perform  its  work.  It  has  a  "heft"  and  bal- 

as  any  good  tool  has.  Your  good  chair  has  all  ance  in  all  of  its  parts  just  right  for  its  size, 

of  its  parts  made  nicely  to  the  right  size  to  ^^  ^ny  good  tool  has.  Your  good  chair  has  all 


do  exactly  the  work  that  the  chair  has  to  do, 

neiflu'r  clumsy  and  thick,  nor  "skinny"  and        ,  ^,     .,  ,   ^,    ..  .,       ,    •    ,       ^     , 

weak,  no  waste  of  material  and  no  lack  <.f       ^»"  e^'^^'f'-^'  "^^  work  that  the  chair  has  to  do, 


olid) 


of  its  parts  made  nicely  to  the  right  size  to 
lork  t 

(OIU-  po 


AP.CI>EF(;iII.TKLMN<)rORSTUVWXYZ& 

.iltVDlJFaillJKl.MXOJ'QRS'J'UVWAYZd- 

ai5Cdi:fghijkl.\inoi>c^kstuvwxyz& 

abcdefgbijklinnopiirstuvwxyztiflfl'fhtll  12.S4.".(i7S!)(» (.>?£,.: :'-'?  :*t ) 
abedefyh ijl.lm iiopqrsi ii r uwyzfiflfffjiffl.  I.>.;',:,(ns<l0 ( .•fit,.: ,•'-" .' .'  j) 

Matrix  Information:  High  Aligmiicnt.  XAl":  I'lw  Alignnieiit,  8A''8.  Length  of  lowur  c.isc  alplialni.  116  pniius.  Figures.  .059. 
Will  run  in  90  channel  layout.  I  ode  words.  High  .MiBinnent,  MF.CV;  I.uw  Alignniiiit.  MEF.l'. 


679 


9        ..      »      »      »     NUMBER      ONE      SERIES     « 

POINT 

HOW  IS  OXE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS 
ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINT 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do 
the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they 
see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  ej-es?  Good  design  is  always 
practical  design.  And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent 
practical  fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts 
just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made 
nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy 
and  thick,  nor  "skinny"  and  weak,  no  waste  of  material  and  no  lack  of  strength.  And, 
beyond  that,  the  chair  may  have  been  made  by  a  man  who  worked  out  in  it  his  sense 
of  fine  shapes  and  curves  and  proportions :  it  may  be,  actually,  a  work  of  art.  The 
same  thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  letter  (if  a  true  artist 
made  it)  will  have,  besides  its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in, 
or  stamped  on  paper  and  read.  That  explains,  in  a  way,  why  the  experts  rave  over  the 
fine  shapes  of  letters ;  but  it  fails  to  explain  wherein  the  shapes  are  fine.  If  you  seek 
to  go  further  with  the  inquiry,  theories  will  be  your  only  answer.  Here  is  a  theory 
that  the  proponent  thinlis  may  have  sense  in  it:  Fine  type  letters  were,  in  the  first 
place,  copies  of  fine  written  letters.  Fine  written  letters  were  fine  because  they  were 
produced  in  the  most  direct  and  simple  way  by  a  tool  in  the  hands  of  a  person  expert 
in  its  use,  by  a  person,  moreover,  who  was  an  artist  (i.e.,  a  person  equipped  to  make 
sound  judgments  about  lines,  curves,  proportions,  etc.).  The  artist  of  that  moment 
when  printing  was  invented  who  furnished  the  fine  written  patterns  for  type  was 
(luckily  for  printing)  woi'king  at  the  top  notch  of  a  fine  tradition  of  calligraphy.  He 
was  making  sound  judgments  about  lines  and  curves  and  proportions  of  letters.  He 
had  resurrected  an  ancient  distinguished  style  of  writing  and  had  added  to  it  the 
quality  of  his  own  fine  taste.  His  letters  flowed  from  his  pen  easily  and  simply,  with- 
out any  tricks  or  afl'ectations  or  extraneous  embellishments.  He  was  simple  enough 
and  ai'tist  enough  to  let  the  implement  itself  (and  his  facile  hand)  shape  the  product. 
The  fine  qualities  of  this  artist's  letter-forms  were  carried  over  into  the  metal  types 
and  sealed  up  there,  like  butterfiies  in  amber.  It  is  argued,  however,  that  the  ascrip- 
tion of  beauty  to  type  letters  by  this  route  (i.e.,  via  the  standards  of  calligraphy)  is 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do 
the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they 

(two  point  leaded) 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do 
the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they 
see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always 
practical  design.  And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent 
practical  fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts 
just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made 

(solid) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZdc 

AECDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflffffififl  12345G7S90 ($£,.: ;'-'?  !*t) 
ahcdrfghijklmnopqrstuvioxyzfiflfffiffl  123 Ji567 890 ($£,.: ;'■'? !  i) 

Matrix  Iitiormation:  9A44.  Length  of  lower  case  alphabet,  127  points.  Figures.  .0622.  Will  run  in  90  channel  layout.  Code  word, 
MELX. 


680 


.,       »       »       »       ..     N  U  M  B  E  R      O  N  E      SERIES"       «       «       «         10 

POINT 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  EACE  IN  TERMS  OE 
ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  O 

now  IS  OXE  TO  ASSP^SS  AND  P^VALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN  ? 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  ?  Why 
do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design 
is  always  practical  design.  And  what  they  see  in  a  good  type  design  is,  partly,  its 
excellent  practical  fitness  to  perforin  its  work.  It  has  a  "heft"  and  balance  in  all 
of  its  parts  just  right  for  its  size,  as  any  good  tool  has.  Y'our  good  chair  has  all  of 
its  parts  made  nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to 
do,  neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of  material  and 
no  lack  of  strength.  And,  beyond  that,  the  chair  may  have  been  made  by  a  man 
who  worked  out  in  it  his  sense  of  line  shapes  and  curves  and  proi)ortions  :  it  may 
be,  actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of  letters.  And  your 
chair,  or  your  letter  (if  a  true  artist  made  it)  will  have,  besides  its  good  looks,  a 
suitability  to  the  »th  degree  to  be  sat  in,  or  stamped  on  ])aper  and  read.  That  ex- 
plains, in  a  way,  why  the  experts  rave  over  the  fine  shapes  of  letters;  but  it  fails 
to  explain  wherein  the  shapes  are  fine.  If  you  seek  to  go  further  with  the  inquiry, 
theories  will  be  your  only  answer.  Here  is  a  theory  that  the  proponent  thinks 
may  have  sense  in  it :  Fine  type  letters  were,  in  the  first  place,  copies  of  fine  writ- 
ten letters.  Fine  written  letters  were  fine  because  they  were  pi'oduced  in  the  most 
direct  and  simple  way  by  a  tool  in  the  hands  of  a  person  expert  in  its  use,  by  a 
person,  moreover,  who  was  an  artist  (('.c,  a  person  equipped  to  make  sound  judg- 
ments about  lines,  curves,  proportions,  etc.).  The  artist  of  that  moment  when 
printing  was  invented  who  furnished  the  fine  written  patterns  for  type  Avas 
(luckily  for  printing)  working  at  the  top  notch  of  a  fine  tradition  of  calligrai)hy. 
He  was  making  sound  judgments  about  lines  and  curves  and  proportions  of  let- 
ters. He  had  resurrected  an  ancient  distinguished  style  of  writing  and  had  added 
to  it  the  quality  of  his  own  line  taste.  His  letters  flowed  from  his  2)en  easily  and 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  desiyn  ?  Why 
do  the  paee-mal-ers  in  the  art  of  printing  rare  over  a  specific  face  of  type?  ^Miat 

(two  f^oint  leaded) 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  ?  Why 
<lo  the  pace-makei's  in  the  art  of  printing  rave  over  a  specific  face  of  tyi>e?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design 
is  always  practical  design.  And  what  they  see  in  a  good  tyi)e  design  is,  partly,  its 
excellent  jtractical  fitness  to  ])erform  its  work.  It  has  a  "heft"  and  balance  in  all 
of  its  ])arts  just  right  for  its  size,  as  any  gocxl  tool  has.  Your  good  chair  has  all  of 

( solid  > 

ABCDEFGIIIJKLMNOPQRSTU\'WXYZ& 
ABCDEFaillJKLM^^OPQRi^TUVWXYZii: 

ABCDEFGIII.JKLMN()1>QKSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfilifi'ftim  12:U.')(;7S!)0(.'if£,. : ;'-'?  I'^^^f) 
ahcdef fjhijkhniiopqrst a r a-.r'yzfififf ffi ffl  12.l'ir,(;7S!H) ($£,.:;■-' f!  j) 

Matrix  Injormalion  :  lOAlO.  Length  of  lower  caic  alpliahet.  134  points.  Figures,  .070.  Will  run  in  '«)  diannel  layout.  Code  word. 
MENA. 


681 


11        »      »      »      »     NUMBER      ONE      SERIES     «      «      «      «      « 

POINT 

now  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TER 
OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  TH 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  PACE  IN  TERMS  OF  ITS  ESTHETIC  D 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  ? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  tliey  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design.  And  what  they  see  in  a  good 
type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its  work.  It 
has  a  "heft"  and  l>alance  in  all  of  its  parts  just  right  for  its  size,  as  any  good 
tool  has.  Y^our  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to 
do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor 
"skinny"  and  weak,  no  waste  of  material  and  no  lack  of  strength.  And,  be- 
yond that,  the  chair  may  have  been  made  by  a  man  who  worked  out  in  it  his 
sense  of  fine  shapes  and  curves  and  proportions :  it  may  be,  actually,  a  work 
of  art.  The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or  your 
letter  (if  a  true  artist  made  it)  will  have,  besides  its  good  looks,  a  suitabil- 
ity to  the  ;(th  degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That  ex- 
plains, in  a  way,  why  the  experts  rave  over  the  fine  shapes  of  letters ;  but  it 
fails  to  explain  wherein  the  shapes  are  fine.  If  you  seek  to  go  further  with 
the  inquiry,  theories  will  be  your  only  answer.  Here  is  a  theory  that  the  pro- 
ponent thinks  may  have  sense  in  it :  Fine  type  letters  were,  in  the  first  place, 
copies  of  fine  written  letters.  Fine  written  letters  were  fine  because  they 
were  produced  in  the  most  direct  and  simple  way  by  a  tool  in  the  hands  of  a 
person  expert  in  its  use,  by  a  person,  moreover,  who  was  an  artist  {i.e.,  a 
pei'son  equipped  to  make  sound  judgments  about  lines,  curves,  proportions, 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of 

(two  poiyit  leaded) 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
AVhy  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  tlieir 
eyes?  Good  design  is  always  practical  design.  And  what  they  see  in  a  good 
type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its  work.  It 
has  a  "heft"  and  balance  in  all  of  its  parts  just  I'iglit  for  its  size,  as  any  good 

(solid) 

ABCDEFGHIJIvLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMN0PQR8TUVWXYZ& 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflfffflfifl  1234567890 (|£,. : ;'-'?  !*t) 
ahcdefghijklmnopqrstuvwxyzfififffjiffl  1234567890 ($£,. :;'-'?!  V 

Matrix  Information:  11 A2.  Length  of  lower  case  alphabet.  144  points.  Figures.  .077.  Will  run  in  90  channel  layout.  Code  word. 
MEOR. 


682 


»      »      »      »      »     NUMBER     ONE      SERIES     «      «      «      «         12 

POINT 

HOW  IS  ONE  TO  ASSESS  AXD  EVALUATE  A  TYPE  FA(1^:  IN 
TEEMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  BSTH 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic 
design?  Wliy  do  the  pace-makers  in  the  art  of  printing  rave  over  a 
specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so  supoila- 
tively  pleasant  to  their  eyes?  Good  design  is  always  practical  de- 
sign. And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent 
practical  fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in 
all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good 
chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly 
the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor 
''skinny"  and  weak,  no  waste  of  material  and  no  lack  of  strength. 
And,  beyond  that,  the  chair  may  have  been  made  by  a  man  who 
worked  out  in  it  his  sense  of  fine  shapes  and  curves  and  proportions  : 
it  may  be,  actually,  a  Avork  of  art.  The  same  thing  holds  for  shapes 
of  letters.  And  your  chair,  or  your  letter  (if  a  true  artist  made  it) 
will  have,  besides  its  good  looks,  a  suitability  to  the  nth  degree  to  be 
sat  in,  or  stamped  on  jiaper  and  read.  That  explains,  in  a  way,  why 
the  experts  rave  over  the  fine  shapes  of  letters ;  but  it  fails  to  ex- 
plain wherein  the  shapes  are  fine.  If  you  seek  to  go  further  with  the 
inquiry,  theories  will  be  your  only  answer.  Here  is  a  theory  that 
II ow  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic 
design?  Why  do  the  pace-makers  in  the  art  of  printing  rare  over  a 

(tzvo  point  leaded) 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic 
design?  Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a 
specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superla- 
tively pleasant  to  their  eyes?  Good  design  is  always  practical  de- 
sign. And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent 
practical  fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in 

(solid) 

ABCDEFGIII.TKLMNOPQRSTUVWXYZ& 
ABCDEFGIIIJKLMNOPQRm'UV ^ VX )  Zd- 

AI5CDEFGHI.JKLMNOPQRSTUVWXVZ& 

abcdefghijklmiiopqrstuvwxyzfififfmfli  123I5()7890($£,. :  r-'?!*t) 
ahcdefgli ijtdmnopqrstuinvxyzfijifffiffl  123J/567890 ($£,. : ;'-' ? !  f  j 

Matrix  Injuntuition  :  1JA-.  I.eiiglh  (if  lower  (.asc  alphabet.  163  points.  Figures.  .084.  Will  run  in  'Hi  channel  layout.  Code  word. 
MEOZ. 


683 


.,     »     ..     COMBINED     WITH      OTHER      SERIES     «     «     « 

BOLD   FACE 
NUMBER   2 

6  Point  No.  1  with  Bold  Face  No.  2  {5A12)  Lower  case  alphabet,  105  points.  Figures,  .0484 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers 
in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superla- 
tively pleasant  to  their  eyes?  Good  design  is  always  practical  design.  And  what  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of 
its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to 
the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny" 

Will  run  in  90  channel  layout.  Code  word,  MEPE 

7  Point  No.  1  with  Bold  Face  No.  2  (7A90)  Lower  case  alphabet.  107  points.  Figures,  .059 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  design  is  always  practical  design.  And  what  they  see  in 
a  good  type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its 

Will  run  in  90  channel  layout.  Code  word.  MEQI 

8  Point  No.  1  with  Bold  Face  No.  2  (8A194)  Lower  case  alphabet.  116  points.  Figures,  .059 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  WTiy  is 
it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  practical  design.  And  what 
they  see  in  a  good  type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its  work.  It 
has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your 

Will  run  in  90  channel  layout.  Code  word,  MERO 

OTHER 

COMBINATIONS 

S'/^  Point  No.  1  with  Clarendon  No.  1  (.''jA^)  Lower  case  alphabet.  91  points.  Figures,  .046 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design!  Why  do  the  pace-makers  in  the  art  of 
printing  rave  over  a  specific  face  of  type!  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes? 
Good  design  is  always  practical  design.  And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent  practical  fit- 
ness to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has. 
Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do, 
neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of  material  and  no  lack  of  strength.  And,  beyond  that. 

Will  run  in  90  channel  layout.  Code  word,  METY 

7  Point  No.  1  with  Gothic  No.  4  (7A42)  Lower  case  alphabet,  108  points.  Figures,  .0593 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  design  is  always  practical  design.  And  what  they  see  in 
a  good  type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its 

Will  run  in  90  channel  layout.  Code  word,  MEUS 

8  Point  No.  1  with  Title  No.  2  (8A192)  Lower  case  alphabet.  122  points.  Figures,  .0692 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the 
pace=makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in 
it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  practical  de= 
sign.  And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent  practical  fitness  to 
perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any 

Will  run  in  9(J  channel  layout.  Code  word,  MEVA 
11  Point  No.  1  with  Century  Bold  (I1A72>  Lower  case  alphabet.  144  points.  Figures,  .0761 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design.  And  what  they  see  in  a  good 

Will  run  in  90  channel  layout.  Code  word.  MESU 


684 


NUMBER 


SIXTEEN 

with  Italic  and  Small  Caps 
and  Combinations 


A  MODERN  FACE  that  clearly  shows 
its  derivation  from  Bodoni  and 
yet  sufficient!}^  difTcrent  to  liave 
a  distinct  flavor  of  its  own.  Num- 
ber 16  is  typical  of  a  style  tliat 
has  long  been  popular  in  France 
and  has  been  used  to  good  efTect 
on  books  that  called  for  a  subtle 
suggestion  of  the  modern  French 
atmosphere.  It  is  also  used  on  a 
number  of  periodicals  and  is  oft- 
en a  happy  compromise  between 
the  somewhat  cold  severity  of 
Bodoni  and  the  more  easy 
informality  of  Scotch. 


MERGENTHALEB    LINOTYPE   COMPANY 

Brooklyn,  New  York 

NEW  YOHK  CITY,  CHICAGO,  SAN   I-RANCISCO,  NEWOHLEANS 
CANADIAN  LINOTYPE,  LIMITED,  TORONTO 

Hctiresciildlives  in  Ihe  Priiiciixil  Cilicx  of  Ihe  M'orhl 


^^ 


innii23 


^vV 


NUMBER  SIXTEEN 

COMPARISON  OF  SIZES 

6  Point  (6A^-)  Lower  case  alphabet.  105  points.  Figures.  .0519 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  W 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-niak  1234 
now  IS  OXE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-in  vbcd 

7  Toint  (7A6)  Lower  case  alphabet.  117  points.  Figures.  .0593 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DE 
How  Is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  1234 
HOW  IS  OXE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  vbcd 

8  Point  (8A54)  Lower  case  alphabet.  128  points.  Figures,  .0667 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTH 
How  is  one  to  asses.s  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Wh  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  W  vbcd 

9  Point  <9A1-)  Lower  case  alphabet.  1J9  points.  Figures,  .0742 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  IT 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  desig  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  des  vbcd 

10  Point  (10A48)  Lower  case  alphabet,  149  points.  Figures.  .0742 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  d  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  estheti  vbcd 

12  Point  (I2A40)  Lower  case  alphabet.  175  points.  Figures,  .089 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  vbcd 

14  Point  (14A14)  Lower  case  alphabet.  204  points.  Figures,  .10J8 

HOW  IS  ONETO  ASSESS  AND  EVALUATE  A  TYPE  F 

How  is  one  to  assess  and  evaluate  a  type  face  in  ter  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  t  vbcd 


-('    <-INDTYPE'   > 


LIST   OF   CHARACTERS    IN    TWO-LETTER    FONTS 
WITH    ITALIC   AND    SMALL   CAPS 

ABCDEFGHIJKLMNOPQRSTUVWXYZ 
ABCDEFGHIJKLMNOPQRSTUVWXYZ 

ABCDEFGHIJKLMNOPQRSTUVWXYZ 

12345         abcdefghijklmnopqrstuvwxyz         67890 
VBCDE         abcdefghijklmnopqrstuvwxyz         fgrtj 

.  :  ;  ?  !  (  I  )  *  "  -  —  iE  CE  ffi  &  £  $  .  . .  fi  fl  flf  fTi  fll  a;  oe 

s  ;  ?  /  A  I  Q  o  '  ' ^E  Q^  It)  1^  £  p  h        .  .  .  //  Y  //■  W  M  K  H 

12345      Z  &  :  ()  fl  ffi  ffl  !f!  ai  oe       67890 
123^5       V  &  :  (  )  fl  fji  ffl  $  cc  oe      67890 

Vh  V-i   %  1/2  %  %  %  X  Z  &  ^  GE  @        %  t  t  §  ^  -   [  ] 


686 


NUMBER  SIXTEEN  with  Century  Bold 

COMPARISON  OF  SIZES 

r,  I'oiiit  (r,AI10)  T.ducr  i.isc  .-ilpliahct.  104  points.  Fii;urcs,  .n-)R4 

IldW  IS  ONI-;  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  <Iesinii?  Why  do  the  pace-nia  12.il 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  ?  Why  do  the  pace-ma  1234 

7  Point  (7A5I))  I..aver  case  alijlialict.  114  pnims.  Figures,  .0553 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  Ih  12;54 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  th  1234 

8  Point  (XA12.S)  I.mvcv  case  alplialjcl.  i  Ju  in, nits.   I'lKuri-s,  .nGJ2 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  csllietic  design?  Wh  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Wh  1234 

9  Point  (9A5C)  I..i\vcr   i.isc  ali.li.itii.-t.  1  \7  pniiits.  I'l^mt-s,  J)r,'J2 

HOW  IS  ONE  to  assess  and  evaluate  a  tyi)e  face  in  terms  of  its  esthetic  desi  12;?4 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  desi  1234 

10  Pniiil  (lOAlir,)  Lnwer  case  alphaliet.  14s  points.  Fi.giires.  .O/dl 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  d  123  4 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  d  1234 

12  Point  (12A70)  Fewer  case  alphabet,  lOS  points.  Figures,  .0899 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  it  12.34 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  it  1234 

14  Point  (14A.".)  Lower  case  alpliabet.  JOJ  points.  Figures.  .10.17 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  1234 


MATRIX  INFORMATION 

6AnO.  Lower  case  alphabet.  104  iiMints.   I-'igures.  .(I4S4:  cniinia.  period  .iiul  thin  space.  .(1277.   Kuiis  in  99  channel  inaKa,^iiie. 

Codeword.  MCJWY. 

7A50.  Lower  case  alphabet.   114  points.   F"igures.   .O.ss.l;  cninni.i.   jieriiid  .'ind  thin  space.   .0277.   l^uns  in  90  channel  niaga/ine. 

Code  word.  .MOXA. 

8A128.  Lower  case  alphabet.  \2C>  points.   Figures.  .or,22:  conim.t.  jicriod  .and  thin  space,  .fl.ill.   Kuns  in  90  channel  niaga/ine. 

Code  word,  MOVF. 

9A5f).  Lower  case  aliihahet.  I.i7  points,    i'igures^  .0r>92;  coniina.  periixl  .md  thin  space.  .fl.MCi.   Knns  in  90  channel  ina.ga/ine. 

Code  word.  MOZE. 

lOAllfi.  I^ower  case  alphaliet.  14.5  points.   Figures.  .f)761;  coiiima.  iieriod  .and  thin  space.  .0.».s.  Runs  in  90  channel  niaga/ine. 

Code  word.  MUAR. 

12A70.  Lower  case  alphabet.  168  points.   Figures.  .0!-')0;  eoninia.  peri...l  and  thin  space.   .0449.  Runs  in  90  channel  niaga/inc. 

Code  word,  MUAZ. 

14A36.   Lower  case  alphabet.  202  points.    F'igurcs.   .1037:  connna.   pc-riod  and  thin   sp.ace.    .O'lO.   Rtms  in  90  channel   niaga/ine. 

Code  word.  Ml'P.E. 


-(LINOTYPE     >- 


LIST   OF   CHARACTERS    IN    TWO-LETTER    FONTS 

ABCDEFGHIJKLMNOPQRSTUVWXYZ 
ABCDEFGHIJKLMNOPQRSTUVWXYZ 

12345        al)cdefgliijklninop(irstuvwxyz        07890 
12345        abcdefghijklmnopqrstuvwxyz        67890 

)  *  "  -  ^  .  . .        Jb  &  £  $ 

)  *"-—  .  ..  lb&£$ 

%  v-i  %  %  %  %  %     (a)     %  1 1  ^  II  -  n 

'/8   Va   %   Vi  %  ¥4  y&         @        %  t  :!:  §  H  -  [  ] 

.E  CE    ae  oe    fi  fl  ff  ffi  fll 
JECE    aeoe    fiflflffHffl 


:  ;  ?  !  ( 
:  ;  ?  !  ( 


687 


NUMBER  SIXTEEN 


6 

POINT 


7 

POINT 


8 

POINT 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE 

How  IS  ONE  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  design 
is  always  j)ractical  design.  And  what  they  see  in  a 
good  type  design  is,  partly,  its  excellent  practical 
litness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  exactly 
the  work  that  the  chair  has  to  do,  neither  clumsy 
and  thick,  nor  "skinny"  and  weak,  no  waste  of 
material  and  no  lack  of  strength.  And,  beyond 
that,  the  chair  may  have  been  made  by  a  man  who 
worked  out  in  it  his  sense  of  fine  shapes  and 
curves  and  proportions:  it  may  be,  actually,  a 
work  of  art.  The  same  thing  holds  for  shapes  of 
llow  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
(solid) 


FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  W 
How  IS  ONE  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  design 
is  always  practical  design.  And  what  they  see  in  a 
good  type  design  is,  partly,  its  excellent  practical 
fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  exactly 
the  work  that  the  chair  has  to  do,  neither  clumsy 
and  thick,  nor  "skinny"  and  weak,  no  waste  of 
material  and  no  lack  of  strength.  And,  beyond 
that,  the  chair  may  have  been  made  by  a  man  who 
worked  out  in  it  his  sense  of  fine  shapes  and 
curves  and  proportions :  it  may  be,  actually,  a 
work  of  art.  The  same  thing  holds  for  shapes  of 
(u}ic  point  leaded) 


Matrix  Information:  6A62.  Lower  case  alphabet,  105  points.  Figures.  .0519;  comma,  period  and  thin  space.  .0297.  Runs  in  90 
channel  magazine.  Code  word,  MOOT. 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DE 


How  IS  ONE  to  assess  and  evaluate  a  type  face 
in  terms  of  its  esthetic  design?  Wliy  do  tlie 
pace-makers  in  the  art  of  printing  rave  over 
a  specific  face  of  type?  What  do  they  see  in 
it?  Why  is  it  so  superlatively  pleasant  to 
their  eyes?  Good  design  is  alwaifs  practical 
desifin.  And  what  they  see  in  a  good  type  de- 
sign is,  partly,  its  excellent  practical  fitness  to 
perform  its  work.  It  has  a  "heft" and  balance 
in  all  of  its  parts  just  riglit  for  its  size,  as  any 
good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  ex- 
actly the  work  that  the  chair  has  to  do, 
neither  clumsy  and  thick,  nor  "skinnj'"  and 
weak,  no  waste  of  material  and  no  lack  of 
Hon)  is  one  to  assess  and  evaluate  a  tt)pe  face 
in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over 

(solid) 


How  IS  ONE  to  assess  and  evaluate  a  type  face 
in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over 
a  specific  face  of  type?  What  do  they  see  in 
it?  Why  is  it  so  superlatively  pleasant  to 
their  eyes?  Good  design  is  always  practical 
design.  And  what  they  see  in  a  good  type  de- 
sign is,  partly,  its  excellent  practical  fitness  to 
perform  its  work.  It  has  a  "heft"  and  balance 
in  all  of  its  parts  just  right  for  its  size,  as  any 
good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  ex- 
actlj'  the  work  that  the  chair  has  to  do, 
neither  clumsy  and  thick,  nor  "skinny"  and 
weak,  no  waste  of  material  and  no  lack  of 
strength.  And,  beyond  that,  the  chair  may 


(one  point  leaded) 

Matrix  Information:  7A6.  Lower  case  alphabet.  117  points.  Figures.  0593;  comma,  period  and  thin  space.  .0297.  Runs  in  90 
channel  magazine.  Code  word,  MOQA. 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTH 


How  IS  ONE  to  a.sscss  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  type?  What  do 
they  see  in  it?  Why  is  it  so  superlatively 
pleasant  to  their  eyes?  Good  design  is  al- 
ways practical  design.  And  what  they  see 
in  a  good  type  design  is,  partly,  its  excel- 
lent practical  fitness  to  perform  its  work. 
It  has  a  "heft"  and  balance  in  all  of  its 
parts  just  right  for  its  size,  as  any  good 
tool  has.  Your  good  chair  has  all  of  its 

Hoiv  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing 

(solid) 


How  IS  ONE  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  type?  What  do 
they  see  in  it?  Why  is  it  so  superlatively 
pleasant  to  their  eyes?  Good  design  is  al- 
ways practical  design.  And  what  they  see 
in  a  good  type  design  is,  partly,  its  excel- 
lent practical  fitness  to  perform  its  work. 
It  has  a  "heft"  and  balance  in  all  of  its 
parts  just  right  for  its  size,  as  any  good 
tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do 
exactly  the  work  that  the  chair  has  to  do, 

(one  point  leaded) 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxvzfinfrmffl  ($£,.:;'-'?!*tt^1I)  1234567890 
abcdefghijklmnopqrstuvwx'yzfiflfffflffl  ($£,.:;'-'?!  n%^)  123^f567890 

Matrix  Information:  8A54.  Lower  case  alphabet,  128  points.  Figures  .0667;  comma,  period  and  thin  space.  .0334.  Runs  in  90 
channel  magazine.  Code  word,  MOSL 


688 


NUMBER  SIXTEEN 

HOW  IS  ONFi  TO  ASSESS  AND  EVALUATE  A  TYPE  EACE  IN  TERMS  OE  IT 
How  IS  ONE  to  assess  and  evaluate  a  type  lace  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  Q 

What  do  they  see  in  it?  Why  is  it  so  superhitively  pleasant  to  their  eyes?  Good  point 
design  is  alwdijs  pr(ictic(d  design.  And  what  they  see  in  a  good  tyi)e  design  is, 
partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has  a  "heft"  and  bal- 
ance in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good 
chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly  the  work  that 
the  chair  has  [o  do,  neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste 
of  material  and  no  lack  of  strength.  And,  beyond  that,  the  chair  may  have  been 
made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and  curves  and 
proportions :  it  may  be,  actually,  a  work  of  art.  The  same  thing  holds  for  shapes 
of  letters.  And  your  chair,  or  your  letter  (if  a  true  artist  made  it)  will  have,  be- 
sides its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped  on 
paper  and  read.  That  explains,  in  a  way,  why  the  experts  rave  over  the  fine 
Hoiv  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type? 

Ittvo  I'oint  leaded ) 

ABCDEEGH1JKLMNOPORSTUVWXYZ& 
A  BCDEFCHIJKLMNOPQRSTVVWX  YZS: 

AUCDI:FGHI.JKLMN()I'QHSTUVWXVZ& 

abcdefghijklmnopqrstuvwxyzrinfTfTim  (■>?£,.:;'-'?!  *tt^H)  1234567890 
abcdefghijklmnopqrstnuwxyzfifllf/fi/fl  ($£,.:;'-'?!   t        )  12.3^567800 

Matrix  Jnjormation  :  9A]--  Lnwer  case  alplKibct,  139  points.  Figures,  .0742;  cniiniia.  iierind  aiul  thin  space.  .0371.  Runs  in  90 
channel  magazine.  Code  word,  MOTO. 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  EACE  IN  TERMS 
How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pacc-inakcrs  in  the  art  of  printing  rave  over  a  specific  1  Q 
face  of  type?  What  do  tlicy  see  in  it?  Why  is  it  so  superlatively  pleasant  to  point 
their  eyes?  Good  design  is  always  practical  design.  And  what  they  sec  in  a 
good  type  design  is,  partly,  its  excellent  i)ractical  fitness  to  perforin  its 
work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Yonr  good  chair  has  all  of  its  parts  made  nicely  to  the 
riglit  size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy 
and  thick,  nor  "skinny"  and  weak,  no  waste  of  material  and  no  lack  of 
strength.  And,  beyond  that,  the  chair  may  have  heen  made  by  a  man  who 
worked  out  in  it  his  sense  of  fine  shapes  and  curves  and  proportions:  it 
may  be,  actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of  letters. 
And  your  chair,  or  your  letter  (if  a  true  artist  made  it)  will  have,  besides 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific 

(two  ^oint  leaded) 

ABCDEE(lIILIKLMNOPORSTUVWXYZc*t 
ABCnEFGIIIJKLMNOPQRSTUVWXYZS: 

ABCDEFGHIJKLMXOI\)HSTUVW^\YZ& 

ahcdefgliiikhnnopqrstnvwxvzfiflfTfrifn  (.K,-:;'-'?!*t±§11)  1231.'.()7.S90 
abcdefghijklmnopqrstuvwxyzfiftffffiffl  ($£,.: ;'-' ?!  fisH;  12:i'tr)l'>7Hi)0 

Matrix  Informatioti :  10A4S.   LiAver  rase  alpli.Tl)Ct.  MO  points.  FiRures  .07-4_':  ccimitia.  perind  and  tliiti  si)aif.    l)i7I,  Hinis  in  90 
channel  magazine.  Code  word.  MOL'D. 


689 


POINT 


NUMBER  SIXTEEN 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN 

How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  es- 
19..  . 

^j^,.j,      thetic  design?  Wliy  do  the  pace-makers  in  tlie  art  of  printing 

rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Wliy  is 
it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always 
practical  design.  And  what  they  see  in  a  good  type  design  is, 
partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any 
good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to 
How  is  one  to  assess  and  evahiaie  a  type  face  in  terms  of  its  es- 
thetic design?  Why  do  the  pace-makers  in  the  art  of  printing 

(three  point  leaded) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTU  V  WX  YZ& 

ABCDEIGHIJKLMNOPQKSTUVWXYZ& 

abcdefghijklmnopqrstuvwxvzfiflffffiffl{$£:;'-'?n$§lI)  12345678 
abcdefghijklmnopqrstuvwxyzfiflffffifjl  ($£:;'-'?       §  ;  12345678 

Matrix  Information  :  \2l\40.  T,o\ver  case  alphabet.  17?  points.  I-'igiires.  .089;  cotnnia.  period  and  thin  space.  .0445.  Runs  in  90 
channel  magazine.  Code  word.  MOUV. 


HOW  IS  ONETO  ASSESS  AND  EVALUATE  A  TYPE  F 
^  A  How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of 
POINT  its  esthetic  design?  Why  do  the  pace-makers  in  the  art 
of  printing  rave  over  a  specific  face  of  type?  What  do 
the}^  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design.  And  what 
they  see  in  a  good  type  design  is,  partly,  its  excellent 
practical  fitness  to  perform  its  work.  It  has  a  "heft"  and 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of 
its  esthetic  design?  Why  do  the  pace-makers  in  the  art 

(four  point  leaded) 

ABGDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ABCDEFGHIJKLMNOPQRSTt  VWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflffffiffi  ($£:;'-'?*t)  123 
abcdefghijklnmopqrstuvwxgzfi/lffffi/fl  ($£:/-'?  t>>  ^55 

Matrix  Information :  14A14.  Lower  case  alphabet,  204  points.  Figures.  .1038;  comma,  period  and  thin  space.  .0519.  Runs  in  90 
channel  magazine.  Code  word.  MOVU. 


690 


^C  TRADE  LI  ^  DT  YPE  '^'"^  0 

Nui^ber 


A  CLEAR,  LEGIBLE  MODERN  FACE 

FOR  TEXT  BOOK  AND  PERIODICAL 

USE  IN  SEVEN  USEFUL  SIZES  WITH 

ITALIC  AND  SMALL  CAPS 


MERGENTHALER  LINOTYPE  COMPANY 

BROOKLYN,  NEW  YORK 

NEW  YORK  CITY,  CHICAGO,  SAN  FRANCISCO,  NEW  ORLEANS 

CANADIAN  LINOTYPE,  LIMITED,  TORONTO 

Jii[)n!<(  iildiivcK  in  titc  Fnttcipal  Cities  vj  ihr  11  uiid 


Number  comparison  of  sizes 


^ 


6  Point  (5A150)  Lower  case  alphabet.  90  points.  Figures,  .0415 
HOW  IS  ONE  TO  A.SSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  art  o  1234 
HOW  I:S  ONE  to  assess  and  evaluate  a  type  face  in  terms  oj  its  esthetic  design?  Why  do  the  pace-makers  in  the  a  vbcd 

7  Point  (7A66)  Lower  case  alphabet.  106  points.  Figures.  .0553 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-m  1234 
UOW  IIS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design'  Why  do  the  pac  vbcd 

7  Point-B  (7A152)  Lower  case  alphabet.  106  points.  Figures,  .0553 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-m  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  disign?  Why  do  the  pac  vbcd 

8  Point  (8A214)  Lower  case  alphabet.  110  points.  Figures.  .0553 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETI 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  WJiy  do  the  p  vbcd 

9  Point  (9A60)  Lower  case  alphabet.  116  points.  Figures.  .0622 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTH 
How  i.s  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  t  vbcd 

10  Point  (10A186)  Lower  case  alphabet,  130  points.  Figures,  .0692 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  I 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  W  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  vbcd 

11  Point  (11A5C)  Lower  case  alphabet.  142  points.  Figures.  .0761 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERM 

How  i.s  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  desi  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  d  vbcd 

12  Point  (12A262)  Lower  case  alphabet.  155  points.  Figures.  .083 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthet  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  est  vbcd 


-{,.  c LINOTYPE" '> 


7  POINT  SIZE  ALSO  MADE  IN  COMBINATION  WITH  GOTHIC  NO.  4 

7  Point  No,  21  with  Gothic  No.  4  (7A102)  Lower  case  alphabet.  104  points.  Figures.  .049 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  Its  esthetic  design?  Why  do  the  pace-  1234 

LIST  OF  CHARACTERS  IN  TWO-LETTER  FONTS  WITH  ITALIC  AND  SMALL  CAPS 

ABCDEFGHIJKLMNOPQRSTUVWXYZ 
ABCDEFGHIJKLMNOPQRSTUVWXYZ 

ABCDEFGHIJKLMXOPQR.STUVWXYZ 

12345        abcdefghijklmnopqrstuvwxyz        67890 

VBCDE        abode  jghijklmnopqrstuvwxyz        fgrtj 

,.:  ;?!(!)*"-  —  ^CEm&£$.  ..         fiflfYffifflsece 

, .  s  ;  .!'  .'  A 1 Q  o  " /E  CE  !b  N  £rh       .  . .  fiy  ff  w  mkh 

12345        Z  &  :  (  )  fl  ffi  ffl  $  fE  CE        67890 
12345        v&:()flffiifl$oece        67890 

Vs  ¥4  %  V2  %  %  ■%  X  Z  &  .E  (E  @    %  t  }  §  H  -  [  ] 

SPECIAL  NO.  3  FIGURES 

6  Point.  Size.  .0484  7  Point.  Size.  .0553  8  Point.  Size.  .0553  10  Point.  Size.  .0692 

1234567890  1234567890  1234567890  1234567890 

May  be  substituted  for  regular  figures  or  ordered  extra 


692 


SIX  POINT,  WITH  ITALIC  AND  SMALL  CAPS 


Number 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY 
DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  OF  TYPE?  WHAT 


How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of 
its  estlietic  design?  Wliy  do  tlie  pace-makers  in  the  art  of 
printing  rave  over  a  specific  face  of  type?  Wiiat  do  they 
see  in  it?  Why  is  it  so  superhitively  pleasant  to  their 
eyes?  Good  dcsiyn  is  always  practical  design.  And  what 
they  see  in  a  good  type  design  is,  partly,  its  excellent 
practical  fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as  any 
good  tool  has.  Your  good  chair  has  all  of  its  parts  made 
nicely  to  the  riglit  size  to  do  exactly  the  work  that  the 
chair  lias  to  do,  neither  clumsy  and  thick,  nor  "skinny" 
and  weak,  no  waste  of  material  and  no  lack  of  strength. 
And,  beyond  that,  the  chair  may  have  been  made  by  a 
man  who  worked  out  in  it  his  sense  of  tine  shapes  and 
curves  and  proportions:  it  may  be,  actually,  a  work  of 
art.  The  same  thing  holds  for  shapes  of  letters.  And  your 
chair,  or  your  letter  (if  a  true  artist  made  it)  will  have, 
besides  its  good  looks,  a  suitability  to  tlie  nth  degree  to 
be  sat  in,  or  stamped  on  paper  and  read.  That  explains, 
in  a  way,  why  the  experts  rave  over  the  fine  shapes  of 
letters  ;  but  it  fails  to  explain  wherein  the  shapes  are  fine. 
If  you  seek  to  go  furtlier  with  the  inquiry,  theories  will 
be  your  only  answer.  Here  is  a  theory  that  the  proponent 

How  is  one  to  assess  atid  evaluate  a  type  face  in  terms  of 

its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of 

printing  rave  over  a  specific  face  of  type?  What  do  they 

(sal  id) 


How  IS  o.N'E  to  assess  and  evaluate  a  type  face  in  terms  of 
its  esthetic  design?  Why  do  tlie  pace-makers  in  the  art  of 
printing  rave  over  a  specific  face  of  type?  What  do  they 
see  in  it?  Why  is  it  so  superlatively  pleasant  to  their 
e.ves?  Good  design  is  always  practical  ilesiyn.  And  wliat 
they  see  in  a  good  type  design  is,  partly,  its  excellent 
practical  fitness  to  perform  its  work.  It  lias  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as  any 
good  tool  has.  Your  good  chair  has  all  of  its  parts  made 
nicely  to  the  right  size  to  do  exactly  the  work  that  the 
chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny" 
and  weak,  no  waste  of  material  and  no  lack  of  strength. 
And,  beyond  tliat,  the  chair  may  have  been  made  by  a 
man  who  worked  out  in  it  his  sense  of  fine  shapes  and 
curves  and  proportions:  it  may  be,  actually,  a  work  of 
art.  The  same  thing  holds  for  shapes  of  letters.  And  your 
chair,  or  your  letter  (if  a  true  artist  made  it)  will  have, 
besides  its  good  looks,  a  suitability  to  the  nth  degree  to 
be  sat  in,  or  stamped  on  paper  and  read.  That  explains, 
in  a  way,  why  the  experts  rave  over  the  fine  shapes  of 
letters;  but  it  fails  to  explain  wherein  the  shapes  are  fine. 
If  you  seek  to  go  further  with  the  inquiry,  theories  will 
be  your  only  answer.  Here  is  a  theory  that  the  proponent 
( one  ^oint  leaded) 


ABCDEFGHI.JKLMNOPQRSTUVWXYZ>t 

ABCDEFGHlJKLMNOPQRSTUVWXYZ^ii: 

ABC'DEKU1UJKI,MN0P()RSTUVW.\YZ& 

abcdefghijklmnopqrstuvwxyzfiflffmffl  ($£,. :  ; '-'?  I'tlSUl   1234567890 
abcdefghijklmnopqrstuvwxysfifUfffiffl  ($£,.:;'-'?!  i'M)  123^,567890 


Matrix  Infonnation:  6A150.  Lower  case  alphabet.  90  pnints.  Figures, 
cliannel  magazine.  Code  word,  MUGY. 


.041 


comma,  peritnl  and  thin  space.  .0277.  Runs  in  90 


-('°  LINOTYPE- ')- 


SEVEN  POINT 


now  IS  ONE  TO  ASSESS  AND  EVALUATE  A 
DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  T 
How  IS  ONE  to  as.se.ss  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it 
so  superlatively  pleasant  to  their  eyes?  Good  de- 
sif/ii  is  always  practical  dcsiyn.  And  \yhat  they 
see  in  a  good  type  design  is,  partly,  its  excellent 
practical  fitness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right 
for  its  size,  as  any  good  tool  has.  Your  good  chair 
has  all  of  its  yiarts  made  nicely  to  the  right  size 
to  do  exactly  the  \york  that  the  chair  has  to  do, 
neither  clumsy  and  thick,  nor  "skinny"  and  weak, 
no  waste  of  material  and  no  lack  of  strength. 
And,  beyond  that,  the  chair  may  have  been  made 
by  a  man  who  worked  out  in  it  his  sen.se  of  fine 
shapes  and  curves  and  proportions:  it  may  be, 
actually,  a  work  of  art.  The  same  thing  holds  for 

Hoto  is  one  to  a.'t.scss  and  evaluate  a  ti/pe  face  in 
ierins  of  i7.s  estlietic  desiimf  ^\'ll!J  do  the  jiaee- 
)iiakers  in  the  art  of  prinliiiy  rave  over  a  specific 

(solid)  ' 


TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC 
HE  ART  OF  PRINTING  RAVE  OVER  A  SPE 

How  IS  ONE  to  a.ssess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it 
so  superlatively  jileasant  to  their  eyes?  Good  de- 
sir/n  is  aheai/s  practical  desi(/n.  And  what  they 
see  in  a  good  type  design  is,  partly,  its  excellent 
practical  fitness  to  perfoi'm  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right 
for  its  size,  as  any  good  tool  has.  Your  good  chair 
has  all  of  it.s  parts  made  nicely  t<j  the  right  size 
to  do  exactly  the  work  that  the  chair  has  to  do, 
neither  clum.sy  and  thick,  nor  "skinny"  and  weak, 
no  waste  of  material  and  no  lack  of  strength. 
And,  beyond  that,  the  chair  may  have  been  made 
by  a  man  who  worked  out  in  it  his  sense  of  fine 
shaiK's  and  curves  and  proportions:  it  may  lie, 
actually,  a  work  of  ai't.  The  same  thing  holds  for 
sliaiH's  (if  letters.  And  your  chair,  or  your  letter 
(one  point  leaded) 


ABCDEFGHI.TKL]MNOPQRSTUVWXYZ& 
ABCDEFGUIJKLMKOPQh'STUVWXYZd 

ABCDEFGIII.JKLMNOPQR.STUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflffffirtl  (.$£,.::'-'?  !*tt§V)  12345C7890 
ahedcfiilvijklmnopqrstuvtrxijzlififf ffiffi  ($t,.: ;'-'.' !  j  j§1l)  ii25/,567890 


Matiix  lujnrmaiion  :  7A''fj-  l.invcr  case  alphaljet,   lOf,  points 
channel  magazine.  Code  word.  MUIC. 


Figures,  .0.^.^.3;  comma,  period  and  Ihin  spate.  .0277.  Runs  in  90 


693 


Number 


^ 


SEVEN  POINT-B,  WITH  ITALIC  AND  SMALL  CAPS 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE 
DESIGN?  WHY  DO  THE  PACE-MAKERS  IN 

How  IS  ONE  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it 
so  superlatively  pleasant  to  their  eyes?  Good  de- 
sign is  always  practical  design.  And  what  they 
see  in  a  good  type  design  is,  partly,  its  excellent 
practical  fitness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right 
for  its  size,  as  any  good  tool  has.  Your  good  chair 
has  all  of  its  parts  made  nicely  to  the  right  size 
to  do  exactly  the  work  that  the  chair  has  to  do, 
neither  clumsy  and  thick,  nor  "skinny"  and  weak, 
no  waste  of  material  and  no  lack  of  strength. 
And,  beyond  that,  the  chair  may  have  been  made 
by  a  man  who  worked  out  in  it  his  sense  of  fine 
shapes  and  curves  and  proportions:  it  may  be, 
actually,  a  work  of  art.  The  same  thing  holds  for 

Hoiv  is  one  to  assess  and  evaluate  a  type  jace  in 
terras  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rai>e  over  a  specific 
(solid) 


A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC 
THE  ART  OF  PRINTING  RAVE  OVER  A  SPE 

How  IS  ONE  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it 
so  superlatively  pleasant  to  their  eyes?  Good  de- 
sign is  always  practical  design.  And  what  they 
see  in  a  good  type  design  is,  partly,  its  excellent 
practical  fitness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right 
for  its  size,  as  any  good  tool  has.  Your  good  chair 
has  all  of  its  parts  made  nicely  to  the  right  size 
to  do  exactly  the  work  that  the  chair  has  to  do, 
neither  clumsy  and  thick,  nor  "skinny"  and  weak, 
no  waste  of  material  and  no  lack  of  strength. 
And,  beyond  that,  the  chair  may  have  been  made 
by  a  man  who  worked  out  in  it  his  sense  of  fine 
shapes  and  curves  and  proportions:  it  may  be, 
actually,  a  work  of  art.  The  same  thing  holds  for 
shapes  of  letters.  And  your  chair,  or  your  letter 
(one  point  leaded) 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ABCDEFtiHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflfltffiffl  ($£,.:  ;'-'?  !*tl§11)  1234567890 
abcdefghijklmnopqrstuvwx'yzfiflffffifjl  ($£,.:;'■!!  tJSHi  1234567S90 

Matrix  Information :  7A152.  Lower  case  alphabet,  106  points.  Figures,  .0553;  comma,  period  and  thin  space,  .0277.  Runs  in  90 
channel  magazine.  Code  word,  ZAHHI.  Note:  This  face  is  the  same  as  7  Point  No.  21,  but  has  a  redesigned  italic. 


-('""LINOTYPE" '> 


EIGHT  POINT 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETI 
DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  S 


How  IS  ONE  to  assess  and  evaluate  a  type  face 
in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  a 
specific  face  of  type?  AVhat  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  dcsiqn. 
And  what  they  see  in  a  good  type  design  is, 
partly,  its  excellent  practical  fitness  to  perform 
its  work.  It  has  a  "heft"  and  balance  in  all  of  its 
parts  just  right  for  its  size,  as  any  good  tool  has. 
Your  good  chair  has  all  of  its  parts  made  nicely 
to  the  right  size  to  do  exactly  the  work  that  the 
chair  has  to  do,  neither  clumsy  and  thick,  nor 
"skinny"  and  weak,  no  waste  of  material  and 
no  lack  of  strength.  And,  beyond  that,  the  chair 
How  is  one  to  assess  and  evaluate  a  type  jace 
in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  a 

(solid) 


How  IS  ONE  to  a.ssess  and  evaluate  a  type  face 
in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  a 
specific  face  of  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design  is, 
partly,  its  excellent  practical  fitness  to  perform 
its  work.  It  has  a  "heft"  and  balance  in  all  of  its 
parts  just  right  for  its  size,  as  any  good  tool  has. 
Your  good  chair  has  all  of  its  parts  made  nicely 
to  the  right  size  to  do  exactly  the  work  that  the 
chair  has  to  do,  neither  clumsy  and  thick,  nor 
"skinny"  and  weak,  no  waste  of  material  and 
no  lack  of  strength.  And,  beyond  that,  the  chair 
may  have  been  made  by  a  man  who  worked  out 

(one  point  leaded) 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

.'\BCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflffffifH  ($£,.:  ;'-'?!*tt§1I)  1234567890 
abcdefghijklmnopqrstuviuxyzfiflfjm  ($£,.:;'-'?!  ttiH;  1234667890 

Matrix  Information:  8A214.  Lower  case  alphabet,  110  points.  Figures.  .0553;  comma,  period  and  thin  space,  .0277.  Runs  in  90 
channel  magazine.  Code  word,  MUOD. 


694 


NINE  POINT,  WITH  ITALIC  AND  SMALL  CAPS  Numbef 


^ 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTH 
DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVE 
How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  jirinting  rave  over  a  specific  face  of  type  ?  What  do  they  see  in  it  ? 
Wliy  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  practical  design.  And 
what  they  see  in  a  good  type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its 
work.  It  has  a"heft"and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has. 
Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do  e.xactly  the  work  that 
the  chair  has  to  do,  neither  clumsy  and  thick,  nor"skinny"and  weak,  no  waste  of  material  and 
no  lack  of  strength.  And,  beyond  that,  the  chair  may  have  been  made  by  a  man  who  worked 
out  in  it  his  sense  of  fine  shapes  and  curves  and  projiortions:  it  may  be,  actually,  a  work  of  art. 
The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  letter  (if  a  true  artist  made 
it)  will  have,  besides  its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped  on 
paper  and  read.  That  explains,  in  a  way,  why  the  experts  rave  over  the  fine  shapes  of  letters; 
but  it  fails  to  explain  wherein  the  shapes  are  fine.  If  you  seek  to  go  further  with  the  inquiry, 
theories  will  be  your  only  answer.  Here  is  a  theory  that  the  proponent  thinks  may  have  sense 
in  it:  Fine  type  letters  were,  m  the  first  place,  copies  of  fine  written  letters.  Fine  written  letters 
were  fine  because  they  were  produced  in  the  most  direct  and  simple  way  by  a  tool  in  the 
hands  of  a  person  expert  in  its  use,  by  a  person,  moreover,  who  was  an  artist,  i.e.,  a  person 
eciuipped  to  make  sound  judgments  about  lines,  curves,  proportions,  etc.  The  artist  of  that 
moment  when  jirinting  was  invented  who  furnished  the  fine  written  jiatterns  for  type  was 
(luckily  for  printing)  working  at  the  top  notch  of  a  fine  tradition  of  calligraphy.  He  was  mak- 
ing sound  judgments  about  lines  and  curves  and  ])roportions  of  letters.  He  had  resurrected  an 
ancient  distinguished  style  of  writing  and  had  added  to  it  the  quality  of  his  own  fine  taste.  His 

How  Is  one  to  assess  and  evaluate  a  type  jace  in  terms  uj  its  esthetic  design/  IF////  do  the 
pace-makers  in  tlie  art  uj  printing  rave  over  a  specific  face  oj  type?  Wliat  do  tliey  see  in  it.' 
Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  practical  design.  And 

(Iztui  l^oiut  Icadi-d) 

How  IS  ONE  to  assess  and  evaluate  a  type  face  IIow  is  one  to  assess  and  evaluate  a  type  face 

in  terms  of  its  esthetic  design?  Why  do  the  in  terms  of  its  esthetic  design?  Why  do  the 

pace-makers  in  the  art  of  printing  rave  over  pace-makers  in  the  art  of  printing  rave  over 

a  specific  face  of  type?  What  do  they  see  ,^  -^^^  ^^^^  ^f  ^        ?  ^yi,.^^  ^^^  ^j^       g^^ 

in  It  ?  Why  IS  It  so  superlatively  pleasant  to  ^,^  j^  ,  ^yj     -^  j^  ^^  .superlatively  pleasant  to 

their  eyes .1^  Good  design  is  always  practical  ^,    .  "o  ^     j   j    ■       •      ;  ^-    i 

design.  And  what  they  see  in  a  good  type  de-  ^  >^'.^  ^^f ",  ^''^^  f  ^'f^'^  "  always  practical 

sign  is,  ixartly,  its  excellent  practical'  fitness  resign.  And  what  they  see  in  a  good  type  de- 

to'' perform  its'work.  It  has  a"heft"and  bal-  sign  is,  partly,  its  excellent  practical  fitness 

ance  in  all  of  its  parts  just  right  for  its  size,  to  perform  its  work.  It  has  a"heft"and  bal- 

as  any  good  tool  has.  Your  good  chair  has  all  ance  in  all  of  its  parts  just  right  for  its  size, 

of  its  ]:(arts  maile  nicely  to  the  right  size  to  ns  any  good  tool  has.  Your  good  chair  has  all 

do  exactly  the  work  that  the  chair  has  to  do,  of  its"  i)arts  made  nicelv  to  the  right  size  to 
neither  clumsy  and  thick,  nor  "skinny"  and  tone  f<int' leaded) 

(solid  > 

ABCDEFGHIJKLMNOPQRSTUVWXYZct 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

.\BCDEFGHIJKLiIXOrQHSTrVWXYZ& 

abcdefghiiklmnopqrstuvwxvzfiflffffifll  (.^£,.:  ;'-'?!*+t§t)  1234567S90 
abcdefghijklmnopqrstuvwiyzfifllJffiffl  (S£..: :'-'?  '■   nl^)  1234o67S!)0 

alphaln-t,  116  iKiiiits.   I'iguros.  .OG22:  cniimi.T.  pcri.ul  ;mcl  lliiii  -^parp.    n'^l.   Kuns  in  90 


M,;t 

lit-  Ini.n-walu 

II     'l.'"/TI.    I 

riwor  i-a 

cha. 

iR-I  maga/iiif. 

(ode  word 

.\U(>\ 

695 


Number  ten  point,  with  italic  and  small  caps 


^ 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  I 
ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRI 

How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why- 
do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do 
they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  al- 
ways practical  design.  And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent 
practical  fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just 
right  for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely 
to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and 
thick,  nor  "skinny"  and  weak,  no  waste  of  material  and  no  lack  of  strength.  And,  be- 
yond that,  the  chair  may  have  been  made  by  a  man  who  worked  out  in  it  his  sense  of 
fine  shapes  and  curves  and  proportions:  it  may  be,  actually,  a  work  of  art.  The  same 
thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  letter  (if  a  true  artist  made 
it)  will  have,  besides  its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or 
stamped  on  paper  and  read.  That  explains,  in  a  way,  why  the  experts  rave  over  the 
fine  shapes  of  letters ;  but  it  fails  to  explain  wherein  the  shapes  are  fine.  If  you  seek 
to  go  further  with  the  inquiry,  theories  will  be  your  only  answer.  Here  is  a  theory 
that  the  proponent  thinks  may  have  sense  in  it:  Fine  type  letters  were,  in  the  first 
place,  copies  of  fine  written  letters.  Fine  written  letters  were  fine  because  they  were 
produced  in  the  most  direct  and  simple  way  by  a  tool  in  the  hands  of  a  person  expert 
in  its  use,  by  a  person,  moreover,  who  was  an  artist,  i.e.,  a  person  equipped  to  make 
sound  judgments  about  lines,  curves,  proportions,  etc.  The  artist  of  that  moment 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do 
they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  al- 

(two  point  leaded) 

How  IS  ONE  to  assess  and  evaluate  a  type  How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design?  Why  face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing  do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  type?  Wnat  j-^ve  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  f  superla-  ^^  ^^  see  in  it?  Why  is  it  so  superla- 
tively p  easant  to  their  eyes?  Good  de-  ^-^^^^    ^^^^^^^  ^^  ^^^-^      ^^^  ^^^^  ^^_ 

siqmsalivayspracticaidesiqn.  Ana  what       .     •'.  '^.  ,■    i  i    ■       *ii. 

iu  •  1  J-   V.    j^o;„„  ;„  v.„,.+i-r       siqn  IS  always  vracticai  design.  Anawhat 

they  see  in  a  good  tvpe  design  IS,  partly,       .■^  .    ^  '     ,  ,     .^     .  ^. 

its  excellent  practical  fitness  to  perform  they  see  in  a  good  type  design  is,  partly, 

its  work.  It  has  a"heft"and  balance  in  its  excellent  practical  fitness  to  perform 

all  of  its  parts  just  right  for  its  size,  as  its  work.  It  has  a"heft"and  balance  in 

any  good  tool  has.  Your  good  chair  has  all  of  its  parts  just  right  for  its  size,  as 

(solid)  (one  point  leaded) 

ABCDEFGHIJKLMNOPQRSTUrW^XYZ& 
ABCDEFGmjKLMNOPQRSTUVWXYZ& 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflffffiffl  ($£,.:  ;'-'?!*tl§1I)  1234567890 
abcdefghijklmnopqrstuvwxyzflfiffffiffl  ($£,.:;'-'?!  tM)  1234567890 

Matrix  Information :  10A186.  Lower  case  alphabet.  130  points.  Figures.  .0692;  comma,  period  and  thin  space.  .0346.  Runs  in  90 
channel  magazine.  Code  word,  MURA. 


696 


ELEVEN  POINT,  WITH  ITALIC  AND  SMALL  CAPS  Number 


^ 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERM 
OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  TH 

How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design.  And  what  they  see  in  a  good 
type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its  work.  It 
has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good 
tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to 
do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor 
"skinny"  and  weak,  no  waste  of  material  and  no  lack  of  strength.  And,  be- 
yond that,  the  chair  may  have  been  made  by  a  man  who  worked  out  in  it  his 
sense  of  fine  shapes  and  curves  and  proportions:  it  may  be,  actually,  a  work 
of  art.  The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  let- 
ter (if  a  true  artist  made  it)  will  have,  besides  its  good  looks,  a  suitability  to 
the  nth  degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That  explains,  in 
a  way,  why  the  experts  rave  over  the  fine  shapes  of  letters;  but  it  fails  to  ex- 
plain wherein  the  shapes  are  fine.  If  you  seek  to  go  further  with  the  inquiry, 
theories  will  be  your  only  answer.  Here  is  a  theory  that  the  proponent  thinks 
may  have  sense  in  it:  Fine  type  letters  were,  in  the  first  place,  copies  of  fine 
written  letters.  Fine  written  letters  were  fine  because  they  were  produced  in 
the  most  direct  and  simple  way  by  a  tool  in  the  hands  of  a  person  expert  in 
its  use,  by  a  person,  moreover,  who  was  an  artist,  i.e.,  a  person  equipped  to 
make  sound  judgments  about  lines,  curves,  proportions,  etc.  The  artist  of  that 
moment  when  printing  was  invented  who  furnished  the  fine  written  patterns 
for  type  was  (luckily  for  printing)  working  at  the  top  notch  of  a  fine  tradition 
of  calligraphy.  He  was  making  sound  judgments  about  lines  and  curves  and 
proportions  of  letters.  He  had  resurrected  an  ancient  distinguished  style  of 
writing  and  had  added  to  it  the  quality  of  his  own  fine  taste.  His  letters  flowed 
from  his  pen  easily  and  simply,  without  any  tricks  or  affectations  or  extrane- 

Hoiv  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their 

(two  point  leaded) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZd- 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflffffiffl  ($£,.: ;'-'?! *tt§ll)  1234567890 
abcdefghijklm7iopqrstuvivxyzfiflfffJiffl  ($£,.: ;'-'?!  UW  1231^567890 

Matrix  Information  :  11A56.  Lower  case  alphabet.  14J  points.  Figures.  .0761:  comma,  period  and  thin  space.  .038.  Runs  in  90 
channel  magazine.  Code  word.  MUSE. 


697 


Number         twelve  point,  with  italic  and  small  caps 


^ 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN 
TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-M 

How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic 
design?  Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  spe- 
cific face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively 
pleasant  to  their  eyes?  Good  design  is  always  practical  design.  And 
what  they  see  in  a  good  type  design  is,  partly,  its  excellent  practical  fit- 
ness to  perform  its  work.  It  has  a"heft"and  balance  in  all  of  its  parts 
just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair 
has  to  do,  neither  clumsy  and  thick,  nor  ''skinny"  and  weak,  no  waste 
of  material  and  no  lack  of  strength.  And,  beyond  that,  the  chair  may 
have  been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes 
and  curves  and  proportions:  it  may  be,  actually,  a  work  of  art.  The 
same  thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  letter  (if 
a  true  artist  made  it)  will  have,  besides  its  good  looks,  a  suitability  to 
the  nth  degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That  ex- 
plains, in  a  way,  why  the  experts  rave  over  the  fine  shapes  of  letters ; 
but  it  fails  to  explain  wherein  the  shapes  are  fine.  If  you  seek  to  go  fur- 
ther with  the  inquiry,  theories  will  be  your  only  answer.  Here  is  a  the- 
ory that  the  proponent  thinks  may  have  sense  in  it :  Fine  type  letters 
were,  in  the  first  place,  copies  of  fine  written  letters.  Fine  written  let- 
ters were  fine  because  they  were  produced  in  the  most  direct  and  simple 
way  by  a  tool  in  the  hands  of  a  person  expert  in  its  use,  by  a  person, 
moreover,  who  was  an  artist,  i.e.,  a  person  equipped  to  make  sound 
judgments  about  lines,  curves,  proportions,  etc.  The  artist  of  that  mo- 
ment when  printing  was  invented  who  furnished  the  fine  written  pat- 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic 
design?  Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  spe- 
cific face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively 

(two  point  leaded) 

ABCDEFGHIJKLMNOPQRSTUYWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflffffiffl  ($£,.:  ;'-'?!*t1:§lI)  1234567890 
abcdefghijklmnopqrstuvivxyzfiflffffiffi  ($£,.: ;'-'  ? !  t$§1i;  1231^567890 

Matrix  Information:  12A-62.  Lower  case  alphabet.  155  points.  Figures,  .083;  comma,  period  and  thin  space,  .0415.  Runs  in  90 
channel  magazine.  Code  word,  MUTI. 


698 


^-Hrn"< 


OLD  STYLE  NO.  1 


-f<]G'"'°  LINOTYPE "^[H- 


if 


i 


vJ'lJ)  ST' 


VLE  X().  I,  one 
of  the  early  Linotype  faces,  is  still  extremely  popular  with 
publishers,  printers  and  trade  composition  plants.  Although 
it  is  primarily  a  book  face,  it  has  been  used  for  periodicals 
and  a  miscellany  of  job  printing'  quite  successfully. 

The  design  is  of  English  origin,  and  was  extremely  pop- 
ular with  the  MacKellar,  Smiths  and  Jordan  foundry.  It 
has  the  simplicity  and  freedom  from  "frills"  characteristic 
of  the  better  English  old  styles  just  [n'ior  to  the  introduction 
of  the  modern  letter. 

As  a  body  type,  (Jld  Style  No.  i  brings  an  e\en-textured 
page  and  may  be  read  with  maximum  comfort  and  ease. 
Vox  display  purposes  Caslon  <  )ld  Eace  and  the  related  series 
of  Linotype  Caslon  decorative  material  will  be  found  an 
excellent  combination,  or  Linotype  Narciss  may  be  used  to 
advantage  as  in  this  folder.  The  following  pages  show  the 
size  range  of  Old  Style  No.  1  —  5  to  18  point  inclusi\e,  and 
also  indicate  the \ariety  of  faces  with  which  ( Md  Style  No.  i 
is  combined  in  two-letter  matrices. 


MERGENTHALRR  LINOTYPE  COMPANY 

BROOKLYN,  N.  V.      (/IIICACO       SAX  FRAXCISCO   ■    NEW  ORLEANS  ■   CANADIAN 
LINOTVrE,  LI^^TEI).  TORONTO    ■    Kcprc.u-nlaiivcs  in  the  I'lincipol  Cilics  of  the  World 


Style  No,  1  wth  Italic  and  Small  Caps 


5  Point  Old  Style  No.  1  with  Italic  and  Small  Caps  {5A30)  Lower  case  alphabet.  83  points.  Figures,  .0415 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of  print  12 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design^  Why  do  the  pace-makers  in  the  art  of  print  vb 

6  Point  Old  Style  No.  1  with  Italic  and  Small  Caps  (6A8)  Lower  case  alphabet.  91  points.  Figures.  .050 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  a  12 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  a  vb 

7  Point  Old  Style  No.  1  with  Italic  and  Small  Caps  (7A14)  Lower  case  alphabet,  101  points.  Figures.  .056 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  ?  Why  do  the  pace-mak  12 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-mak  vb 

8  Point  Old  Style  No.  1  with  Italic  and  Small  Caps  (8A30)  Lower  case  alphabet.  109  points.  Figures,  .056 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace  12 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  f  Why  do  the  pace  vb 

9  Point  Old  Style  No.  I  with  Italic  and  Small  Caps  (9A2)  Lower  case  alphabet,  118  points.  Figures,  .063 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  ?  Why  do  12 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  vb 

10  Point  Old  Style  No.  1  with  Italic  and  Small  Caps  (10A6)  Lower  case  alphabet.  127  points.  Figures,  .070 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  ?  W  12 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  f  W  vb 

11  Point  Old  Style  No.  1  with  Italic  and  Small  Caps  (llA't)  Lower  case  alphabet,  135  points.  Figures.  .077 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  desig  12 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  desig  vb 

12  Point  Old  Style  No.  1  with  Italic  and  Small  Caps  (12A4)  Lower  case  alphabet,  ISO  points.  Figures,  .084 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthet  12 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthet  vb 

14  Point  Old  Style  No.  1  with  Italic  and  Small  Caps  (14A7C)  Lower  case  alphabet.  178  points.  Figures,  .0968 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  o  12 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  o  vb 

18  Point  Old  Style  No.  1  (18A79)  '  Lower  case  alphabet,  195  points.  Figures,  .1107 

HOW  IS  one  to  assess  and  evaluate  a  type  face  in  ter  12 


List  of  Characters  in  Two-Letter  Fonts  Italic  Logotypes 

Witll  Italic  and  small  caps  y^  y,  y^  ^y^  yy^  jy^  ^r^  y^  y^ 

ABCDEFGHIJKLMNOPQRSTUVWXYZ  ^^  pj  j^j  ryv,  rrry,  ^y, 

ABCDEFGHIJKLMNOPQRSTUVWXYZ  ^^  ^^  -'^  '^■^  '^^  ^^ 

ABCDEFGHIJKLMNOPQRSTUVWXYZ  Supplied  on  Special  Order 

12345  abcdefghijklmnopqrstuvwxyz  67890 

VBCDE  abcdcjghijktmnopqrstuvzv.vya  fgrtj 

:;?!(!)*■•  —  .^.(Ett3&f$.  ..        f^flffffiffljece  Old  Style  Figures 

s;f.'AiQo" ^CEn^£vL       ...fiYffwMKU  I2'?Ac;678oO 

12345  Z&  :()flffiffl$jeoe  67890  ^"''^    ^    -^ 

12345  v&:()flffiffl$a:ce  67890  "'"^'  ^7  "/' "'"  "J"^  Z      <  'f'!j"""^  ff '''"' 

\  /  1    u   u    T  regularly  furntshcd  with  a  font,  if  so  ordered,  or 
/iyiHyi^AHVs      XZ&.5:CE      @      %tt§1I-[]  may  be  added  as  an  extra 


700 


Style  No,  1 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FA(. 
I'ACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVE 


E  IN  TERiMS  OF  ITS  ESTHETIC  DESIGN"-  WHY  DO  THE 
R  A  SPECIFIC  FACE  OF  TYPE?  WHAT  DO  THEY  SEE  IN 


HOW   IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE   IN   TERMS  OF   ITS  liSTHtTIC  DKSIGN  ?    WUY   DO  THE  I-ACE-MAKKKS   IN    THE  AKT  OF  PRINTIN 


How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of 
Its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of 
printing  rave  over  a  specific  face  of  type?  What  do  they  see 
in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes? 
Good  design  is  always  practical  design.  And  what  they  see 
in  a  good  type  design  is,  partly,  its  excellent  practical  fit- 
ness to  perform  its  work.  It  has  a  "heft"  and  balance  in  all 
<if  its  parts  just  right  for  its  size,  as  any  good  tool  has. 
Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right 
size  to  do  exactly  the  work  that  the  chair  has  to  do— neither 
clumsy  and  tlilck.  nur  "skinny"  and  weak  — no  waste  of  ma- 
terial and  no  lack  of  strength.  And,  beyond  that,  the  chair 
may  have  been  made  by  a  man  who  worked  out  in  it  his 
sense  of  fine  shapes  and  curves  and  proportions — it  may 
be.  actually,  a  work  of  art.  The  same  thing  holds  for  shapes 
of  letters.  And  your  chair,  or  your  letter  (if  a  true  artist 
made  it)  will  have,  besides  its  good  looks,  a  suitability  to 
the  nth  degree  to  be  sat  in,  or  stamped  on  paper  and  read. 
That  explains,  in  a  way,  why  the  experts  rave  over  the  fine 
shapes  of  letters;  but  it  fails  to  explain  wherein  the  sliapes 
are  fine.  If  you  seek  to  go  further  with  the  inquiry,  theories 
will  be  your  only  answer.  Here  is  a  theory  that  the  propo- 
netit  thinks  may  have  sense  in  it:  Fine  type  letters  were,  in 
the  first  place,  copies  of  tine  written  letters.  Fine  written 
letters  were  fine  because  they  were  produced  in  the  iiio.st 
direct  and  simple  way  by  a  ttjol  in  the  hands  of  a  persitn 
expert  in  its  use — by  a  person,  moreover,  who  was  an  art- 
ist (i.t\.  a  person  equipped  to  make  sound  judgment  about 
lines,  curves,  proportions,  etc.).  The  artist  of  that  moment 
when  printing  was  invented  who  furnished  the  fine  written 

llozv  is  one  to  assess  and  evaluate  a  type  face  in  terms  of 

its  esthetic  design  f  ll'hv  do  the  pace-makers  in  the  art  <•! 

printing  rave  over  a  specific  face  of  type?  What  do  they  sec 

(solid) 


How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of 
its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of 
printing  rave  over  a  specific  face  of  type?  What  do  they  sec 
in  it.'  Why  is  it  so  superlatively  pleasant  to  their  eyes? 
Good  design  is  always  practical  design.  And  what  they  see 
in  a  good  type  design  is.  partly,  its  excellent  practical  fit- 
ness to  perform  its  work.  It  has  a  "heft"  and  balance  in  all 
of  its  parts  just  right  for  its  size,  as  any  good  tool  has. 
^'■nir  good  chair  has  all  of  its  parts  made  nicely  to  the  right 
size  to  do  exactly  the  work  that  the  chair  has  to  do — neither 
clumsy  and  thick,  nor  "skinny"  and  weak — no  waste  of  ma- 
terial and  no  lack  of  strength.  And.  beyond  that,  the  chair 
may  have  been  made  by  a  man  who  worked  out  in  it  his 
sense  of  fine  shapes  and  curves  and  proportions — it  may 
be.  actually,  a  work  of  art.  The  same  thing  holds  for  shapts 
of  letters.  And  your  chair,  or  your  letter  {if  a  true  artist 
made  it)  will  have,  besides  its  good  looks,  a  suitability  to 
I  he  nX\\  degree  to  be  sat  in,  or  stamped  on  paper  and  read. 
That  explains,  in  a  way.  why  the  experts  rave  over  the  fine 
shapes  of  letters;  but  it  fails  to  explain  wherein  the  shapes 
are  fine.  If  you  seek  to  go  further  with  the  inquiry,  theories 
will  be  your  only  answer.  Here  is  a  theory  that  the  propo- 
nent thinks  may  have  sense  in  it:  Fine  type  letters  were,  in 
the  first  place,  copies  of  fine  written  letters.  Fine  written 
letters  were  fine  because  they  were  produced  in  the  most 

Uoiv  is  one  to  assess  and  evaluate  a  type  face  in  terms  of 

lis  esthetic  desl(jn^   Why  do  the  pace-makrrs  in  the  art  of 

printing  ra:-e  o'eer  a  specific  face  of  type?  What  do  they  see 

i  one  Point  leaded) 


5 

POINT 


ABCDEFGniTKI..MNC)rt.'RSll-V\VXYZ& 
ABCDliFGHUKLMNUFORSrUVlVXYZO 


AUCUEFGHITKLMNOPQRSTUVWXVZ 

.Thcdefgliiiklininip(|rstuvwxvz  1234^r»7SOn($t:.. ; ;' 
abcdeSghiiklmiuirnrsluvivxyz  12i4567li'/0l  St..  :.■' 


-' ''  !*t  t  i2j4=i678qo 


Matyix  Information  :  5A30.  Length  of  lnwer  c.T^e  .'ilphaliet.  .^3  priiiils,  f'n 
space.  .0415.  Will  run  in  90  channel  lay.mt.  Cede  wi.rJ.  Z.MUW. 


space.  .0277:  figures.  .041  .S;  figure 


-(LINOTYPE     > 


5  point  Old  Style  No.  i  with  Cheltenham  Bold 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE 
I'ACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  OF  TYPE?  WHAT  DO  THEY  SEE  IN 


How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of 
its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of 
printing  rave  over  a  specific  face  of  type?  What  do  they  see 
in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes? 
Good  design  is  always  practical  design.  And  what  they  see 
in  a  good  type  design  is,  jiartly,  its  excellent  practical  fit- 
ness to  perform  its  work.  It  has  a  "heft"  and  lialance  in  all 
of  its  parts  just  right  for  its  size,  as  any  good  tool  ha-^. 
Y'our  good  chair  has  all  of  its  pans  made  nicely  to  the  right 
size  to  do  exactly  the  work  that  the  chair  has  to  do — neither 
clumsy  and  thick,  nor  "skinny"  and  weak — no  waste  of  ma- 
terial and  no  lack  of  strength.  And.  beyond  that,  the  chair 
may  have  been  made  by  a  man  who  worked  out  in  it  his 
sense  of  fine  shapes  and  curves  and  proportions  —  it  may 
be,  actually,  a  work  of  art.  The  same  thing  holds  for  shapes 
of  letters.  And  your  chair,  or  your  letter  (if  a  true  artist 
made  it)  will  have,  besides  its  good  looks,  a  suitability  to 
the  nth  degree  to  be  sat  in.  or  stamped  on  paper  and  read. 
That  exjdains.  in  a  way.  why  the  experts  rave  over  the  fine 
shapes  of  letters;  but  it  fails  to  explain  wherein  the  shapes 
are  fine.  If  you  seek  to  go  further  with  the  inquiry,  theories 
will  be  your  only  answer.  Here  is  a  theory  that  the  prrji>o- 
nent  thinks  may  have  sense  in  it:  Fine  type  letters  were,  in 
the  first  place,  copies  of  fine  written  letters.  Fine  written 
letters  were  fine  because  they  were  pro<!uced  in  the  most 
direct  and  simple  way  by  a  tool  in  the  hands  of  a  person 
expert  in  its  use — by  a  person,  moreover,  who  was  an  art- 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of 
its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of 
printing  rave  over  a  specific  face  of  type?  What  do  they  see 
(solid) 


How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of 
it'^  esthetic  design?  Why  do  the  pace-makers  in  the  art  of 
printing  rave  over  a  specific  face  of  type?  What  do  they  see 
in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes' 
Good  design  is  always  practical  design.  And  what  tliey  see 
in  a  good  type  design  is.  partly,  its  excellent  practical  fit- 
ness to  perform  its  work.  It  has  a  "heft"  and  balance  in  all 
of  Its  parts  just  right  for  its  size,  as  any  good  tool  has. 
Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right 
size  to  do  exactly  the  work  that  the  chair  has  to  do — neither 
clumsy  and  thick,  nor  "skinny"  and  weak — no  waste  of  ma- 
terial and  no  lack  of  strength.  And.  beyond  that,  the  chair 
may  have  been  made  by  a  man  who  worked  out  in  it  his 
sense  of  fine  shapes  and  curves  and  proportions  —  it  may 
be.  actually,  a  work  of  art.  The  same  thing  holds  for  shapes 
of  letters.  And  your  chair,  or  your  letter  (if  a  true  artist 
made  it)  will  have,  besides  its  good  looks,  a  suitability  to 
the  ntli  degree  to  be  sat  in,  or  stamped  on  paper  and  read. 
That  explains,  in  a  way.  why  the  experts  rave  over  the  fine 
shapes  of  letters ;  but  it  fails  to  exjdain  wherein  the  shapes 
are  fine.  If  you  seek  to  go  further  with  tlie  inquiry,  theories 
will  be  your  only  answer.  Here  is  a  theory  that  the  propo- 
nent thinks  may  have  sense  in  it:  Fine  type  letters  were,  in 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of 
its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of 
printing  rave  over  a  specific  face  of  type?  What  do  they  see 

(one  point  leaded  i 


Clielteiilham 


ABCDEFGHITKI,MNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abci!ef;^Iiiik!mnnpqrsiu\  wxy/  ]  2^4^r.7i<nnl^>i,..■-  ;•-'!'  !' 
abcdefghijklmnopqrstuvwxyz  1 234567890 ($£,. :  ;*-'  ?  !' 

Matrix  Information :  5A20.  Length  of  lower  case  alphabet.  S3  points.  Comma,  period  . 
space.  .0415.  Will  run  in  90  chaimel  layout.  Code  word.  NE(:)E. 


1(1  thin  spiice.  .0277;  figures.  .fHLs;  figure 


701 


Old  Style  No,  1 


POINT 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN? 
WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  OF  TY 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN   TERMS  OF   ITS  ESTHETIC  DESIGN  ?   WHY  DO  THE   PACE-MAKERS  IN   T 


How  is  one  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant 
to  their  eyes?  Good  design  is  always  practical  desig:n. 
And  what  they  see  in  a  good  type  design  is,  partly,  its 
excellent  practical  fitness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  exactly  the  work 
that  the  chair  has  to  do  — neither  clumsy  and  thick,  nor 
"skinny"  and  weak— no  waste  of  material  and  no  lack 
of  strength.  And,  beyond  that,  the  chair  may  have  been 
made  by  a  man  who  worked  out  in  it  his  sense  of  fine 
shapes  and  curves  and  proportions— it  may  be,  actually, 
a  work  of  art.  The  same  thing  liolds  for  shapes  of  let- 
ters. And  your  chair,  or  your  letter  (if  a  true  artist 
made  it)  will  have,  besides  its  good  looks,  a  suitability 
to  the  ;ith  degree  to  be  sat  in,  or  stamped  on  paper  and 
read.  That  explains,  in  a  way,  why  the  experts  rave 
over  the  fine  shapes  of  letters;  but  it  fails  to  explain 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms 

of  its  esthetic  design?  Why  do  the  pace-makers  in  the 

art  of  printini)  rave  over  a  specific  face  of  type?  What 

(solid) 


How  is  one  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant 
to  their  eyes?  Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design  is,  partly,  its 
excellent  practical  fitness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  exactly  the  work 
that  the  chair  has  to  do  — neither  clumsy  and  thick,  nor 
"skinny"  and  weak— no  waste  of  material  and  no  lack 
of  strength.  And,  beyond  that,  the  chair  may  have  been 
made  by  a  man  who  worked  out  in  it  his  sense  of  fine 
shapes  and  curves  and  proportions— it  may  be,  actually, 
a  work  of  art.  The  same  thing  holds  for  shapes  of  let- 
ters. And  your  chair,  or  your  letter  (if  a  true  artist 
made  it)  will  have,  besides  its  good  looks,  a  suitability 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms 

of  its  esthetic  design?  Why  do  the  pace-makers  in  the 

art  of  printing  rave  over  a  specific  face  of  type?  What 

(one  point  leaded) 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyz  1234567890($i,. :;'-'?  !*t)  1234567890 
abcdefghijklmnopqrstuvw.rys  12S4567S90($£,.: ;'-'? !  \)i>S4i6;89o 

Matrix  Inforwation :  6A8.  Length  of  lower  case  alphabet.  91  points.  Comma,  period  and  tliin  space.  .028:  figures.  .050;  figure 
space.  .050.  Will  run  in  90  channel  layout.  Code  word,  NABU.  Also  made  in  combination  with  Antique  No.  1.  Title  No.  1.  Title 
No.  2  and  Cheltenham  Bold. 


-(LINOTYPE"')- 


7 


POINT 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE 
DESIGN?  WHY  DO  THE  PACE-MAKERS  IN 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  I 

How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design  ?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  type  ?  What  do  they  see  in  it  ?  Why  is  it  so 
superlatively  pleasant  to  their  eyes  ?  Good  design 
is  always  practical  design.  And  what  they  see  in  a 
good  type  design  is,  partly,  its  excellent  practical 
fitness  to  perforin  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  exactly  the 
work  that  the  chair  has  to  do— neither  clumsy  and 
thick,  nor  "skinny"  and  weak— no  waste  of  mate- 
rial and  no  lack  of  strength.  And,  beyond  that,  the 
chair  may  have  been  made  by  a  man  who  worked 
out  in  it  his  sense  of  fine  shapes  and  curves  and 
proportions— it  may  be,  actually,  a  work  of  art. 
The  same  thing  holds  for  shapes  of  ietters.  And 
your  chair,  or  your  letter  (if  a  true  artist  made  it) 
will  have,  besides  its  good  looks,  a  suitability  to 

Hozi'  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design 'i'  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 

(solid) 


A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC 
THE  ART  OF  PRINTING  RAVE  OVER  A  SPE 

N  TERMS  OF  ITS  ESTHETIC  DESIGN  ?  WHY  DO  THE  PACE- 

How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design  ?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  type  ?  What  do  they  see  in  it  ?  Why  is  it  so 
superlatively  pleasant  to  their  eyes  ?  Good  design 
is  always  practical  design.  And  what  they  see  in  a 
good  type  design  is,  partly,  its  excellent  practical 
fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  exactly  the 
work  that  the  chair  has  to  do  — neither  clumsy  and 
thick,  nor  "skinny"  and  weak— no  waste  of  mate- 
rial and  no  lack  of  strength.  And,  beyond  that,  the 
chair  may  have  been  made  by  a  man  who  worked 
out  in  it  his  sense  of  fine  shapes  and  curves  and 
proportions  — it  may  be,  actually,  a  work  of  art. 
The  same  thing  holds  for  shapes  of  letters.  And 
Hozv  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  IVhy  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 

(one  point  leaded) 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ABCDEFGHIJKLMNOPORSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyz  1234567890($£,. :  ;'-'?  !*t)  1234567890 

abcdcfghijklmnopqrstuvzvxyz  1234567890($£,- :  ;'-'f  ■'     )i2345(>7890 

Matrix  Information  :  7A14.  Length  of  lower  case  alphabet.  101  points.  Comma,  period  and  thin  space.  .028;  figures,  .056;  figure 
bpace.  .056.  Will  run  in  90  channel  layout.  Code  word.  NACY.  Also  made  in  combination  with  Antique  No.  1. 


702 


Old  Style  No.  1 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  EACE  IN  TERMS  OE  ITS  ES 
THETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RA 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OE  ITS  ESTHETIC  DESIGN  ?  WHY  DO  THE  PA 


How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design  ?  Why  do  the  pace- 
makers in  tlie  art  of  printing  rave  over  a  spe- 
cific face  of  type  ?  Wliat  do  they  see  in  it  ?  Why 
is  it  so  superlatively  pleasant  to  their  eyes? 
Good  design  is  always  practical  design.  And 
what  they  see  in  a  good  ty\ie  design  is,  partly,  its 
excellent  practical  fitness  to  perform  its  work. 
It  has  a  "heft"  and  halance  in  all  of  its  parts 
just  right  for  its  size,  as  any  good  tool  lias. 
Your  good  chair  has  all  of  its  parts  made  nicely 
to  the  right  size  to  do  exactly  the  work  that  the 
chair  has  to  do— neither  clumsy  and  thick,  nor 
"skinny"  and  weak— no  waste  of  material  and 
no  lack  of  strength.  And,  beyond  that,  the  chair 

HoK'  is  one  lo  assess  and  ri'aliialc  a  /  v/r  jacc  in 
terms  of  its  cstlictic  dcsinn?  W'lty  do  I  lie  pacc- 
inal.'crs  in  tiic  art  of  prinltn;/  nrr'i'  O'l'i'r  a  spr- 


How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  spe- 
cific face  of  type?  What  do  they  see  in  it?  Why 
is  it  so  superlatively  pleasant  to  their  eyes? 
Good  design  is  always  practical  design.  And 
what  they  see  in  a  good  type  design  is,  partly,  its 
excellent  practical  fitness  to  perform  its  work. 
It  has  a  "heft"  and  balance  in  all  of  its  parts 
just  right  for  its  size,  as  any  good  tool  has. 
Your  good  chair  has  all  of  its  parts  made  nicely 
to  the  right  size  to  do  exactly  the  work  that  the 
chair  has  to  do— neither  clumsy  and  thick,  nor 

//oa'  is  one  lo  assess  and  e"L'(duale  a  type  jaee  in 
terms  of  ils  esllielie  design f  ll'lty  do  the  paee- 
malcers  in  the  art  of  prinfiny  rave  over  a  spe- 

I  .nir  f.iini  leaded) 


ABCDEEGHIIKLMNOPQRSTUVWXYZ& 

ABCDEl-Gin'JKLMNOP(JRSTV\-]VXYZ& 

ARCDEF(;iIIJKLMNOPQRSTU\'WXVZ& 

abcdefghijklmnupqrstuvwxyz  1 234567890 ($£,. : ;'-'?  !*t)  1234567890 
abedefiihijkhnnopqrstnvtvxyz  1234567H90{$£..: ;'-' f !  \)  1234567890 

Matrix  Inforwatio}!  .SA3n.  [.eTiiitli  of  lower  ca^c  .-ilplialifl .  109  points,  romiiia.  period  and  thin  space.  .028:  fiKures.  .056;  figure 
space.  .OSft.  Will  run  in  90  channel  layout.  Code  word.  NAEJ*.  Also  made  in  combination  with  Antique  No.  1,  Antique  No.  1 
Italic,  Title  No.  1.  Title  No.  2  and  Chelteidiani  Bold. 


P  O  I  N  T 


-(LINOTYPE     > 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS 
ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINT 

now  I.S  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN  ?  WHY  D 


How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design  ?  Why  do 
the  pace-makers  in  the  art  of  printin.ij  rave 
over  a  specific  face  of  type  ?  What  do  tliey 
sec  in  it  ?  Why  is  it  so  superlatively  pleasant 
to  their  eyes?  Good  design  is  always  prac- 
tical design.  And  what  they  see  in  a  good 
type  design  is,  partly,  its  excellent  practical 
fitness  to  perform  its  work.  It  has  a  "heft" 
and  balance  in  all  of  its  [larts  just  riglit  for 
its  size,  as  any  good  tool  has.  Your  .good 
chair  has  all  of  its  jiarts  made  nicely  to  the 

How  is  one  to  assess  and  cz'aluatc  a  type 
face  in  terms  of  its  cstlictic  design?  IVIiy  do 
the  paee-nialcers  in  the  art  of  printing  rave 


How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design  ?  Why  do 
the  pace-makers  in  the  art  of  printing  rave 
over  a  specific  face  of  type?  What  do  they 
see  in  it  ?  Why  is  it  so  superlatively  pleasant 
to  their  eyes?  Good  design  is  always  prac- 
tical design.  And  what  they  see  in  a  good 
type  desi.gn  is,  partly,  its  excellent  practical 
fitness  to  perform  its  work.  It  has  a  "heft" 
and  balance  in  all  of  its  parts  just  right  for 
its  size,  as  any  good  tool  has.  Your  good 
How  is  one  lo  assess  and  evahiatc  a  type 
face  in  terms  of  its  esthetic  design:'  llliy  do 
the  pace-makers  in  the  art  of  printing  rax'C 

I,')},-  p.'iiO  leaded) 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ABCDEFGHIJKLMNOPQRSTU]'lVXYZ& 

ABCDEFGHIJKLMNOPnRSTUVW\YZ& 

abcdefghijklmnopqrstuvwxyz  1 234567890 ($£,. :  :•-'  ?  !*t)  1234567890 
ahcdefghi'ikimnopqrstinnvxyz  12>l567S9tl{$i.. :;'-? !     )  i3;-^^^6ySgo 


POINT 


Matrix  liijormalinii :  9A3.  I.cnk'th  of  lower  case  alph.abet.  lis  points.  Comma,  period  and  thin  space.  .0.113;  figures.  .063;  fiKurc 
space.  .0(>.i.  Will  run  in  90  .li.inncl  layout.  Code  word,  NAIX.  .Mso  made  in  combination  with  .Antique  No.  1. 


703 


e 


1 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS 
OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  A 

now  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN  ? 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  ?  Why  do  the 
llD  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type  ?  What  do  they  see  in 

POINT  it  ?  Why  is  it  so  superlatively  pleasant  to  their  eyes  ?  Good  design  is  always  practical 

design.  And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent  practical  fitness 
to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size, 
as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to 
do  exactly  the  work  that  the  chair  has  to  do— neither  clumsy  and  thick,  nor  "skinny" 
and  weak— no  waste  of  material  and  no  lack  of  strength.  And,  beyond  that,  the  chair 
may  have  been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and  curves 
and  proportions  — it  may  be,  actually,  a  work  of  art.  The  same  thing  holds  for  shapes 
of  letters.  And  your  chair,  or  your  letter  (if  a  true  artist  made  it)  will  have,  besides  its 
good  looks,  a  suitability  to  the  ;;th  degree  to  be  sat  in,  or  stamped  on  paper  and  read. 
That  explains,  in  a  way,  why  the  experts  rave  over  the  fine  shapes  of  letters  ;  but  it  fails 

Hozv  is  one  to  assess  and  evaluate  a  type  jace  in  terms  oj  its  esthetic  design  f  Why  do  the 
pace-makers  in  the  art  oj  printing  rave  over  a  specific  jace  oj  type?  What  do  they  sec  in 
it?  Why  is  it  so  superhitively  picasatit  to  their  eyes?  Good  design  is  alzvays  practical 

(two  point  leaded) 


How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design  ?  Why 
do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  type  ?  What 
do  they  see  in  it  ?  Why  is  it  so  superla- 
tively pleasant  to  their  eyes?  Good  de- 
sign is  always  practical  design.  And  what 
they  see  in  a  good  type  design  is,  partly, 
its  excellent  practical  fitness  to  perform 
its  work.  It  has  a  "heft"  and  balance  in 
all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has 
all  of  its  parts  made  nicely  to  the  rignt 
size  to  do  exactly  the  work  that  the  chair 
has  to  do— neither  clumsy  and  thick,  nor 
"skinny"  and  weak— no  waste  of  materi- 
al and  no  lack  of  strength.  And,  beyond 

Hozv  is  one  to  assess  and  evaluate  a  type 
jace  in  terms  oj  its  esthetic  design?  WJiy 
do  the  pace-makers  in  the  art  oj  printing 

(solid) 


How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design  ?  Why 
do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  type  ?  What 
do  they  see  in  it  ?  Why  is  it  so  superla- 
tively pleasant  to  their  eyes  ?  Good  de- 
sign is  always  practical  design.  And  what 
they  see  in  a  good  type  design  is,  partly, 
its  excellent  practical  fitness  to  perform 
its  work.  It  has  a  "heft"  and  balance  in 
all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has 
all  of  its  parts  made  nicely  to  the  right 
size  to  do  exactly  the  work  that  the  chair 
has  to  do  — neither  clumsy  and  thick,  nor 
"skinny"  and  weak— no  waste  of  materi- 

How  is  one  to  assess  and  evaluate  a  type 
jace  in  terms  oj  its  esthetic  design?  Why 
do  the  pace-nmkers  in  the  art  oj  printing 

(one  point  leaded) 


ABCDEFGHIJKLMNOPORSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyz  1234567890($£,. : ;'-'  ?  !*t)  1234567890 
abcdejghiiklmnopqrstuvivxyz  1234567890($£ ,.:;'-'? !  \)i2S456'/890 

Matrix  Information:  10A6.  Length  of  lower  case  alphabet,  127  points.  Comma,  period  and  thin  space,  .035;  figures,  .070;  figure 
space,  .070.  Will  run  in  90  channel  layout.  Code  word,  NANA.  Also  made  in  combination  with  Antique  No.  1,  Antique  No.  1 
Italic,  Title  No.  1.  Title  No.  2  and  Cheltenham  Bold. 


OM  Style  No.  1 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TER 
MS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DE 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  ?  Why 
do  the  pace-makers  in  the  art  of  printing"  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it  ?  Why  is  it  so  superlatively  pleasant  to  their  eyes  ?  Good  design  is 
always  practical  design.  And  what  they  see  in  a  good  type  design  is,  partly,  its 
excellent  practical  fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of 
its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  exactly  the  work  that  the  cliair  has  to  do- 
neither  clumsy  and  thick,  nor  "skinny"  and  weak— no  waste  of  material  and  no 
lack  of  strength.  And,  beyond  that,  the  chair  may  have  been  made  by  a  man  who 
worked  out  in  it  his  sense  of  fine  shapes  and  curves  and  proportions  — it  may  be, 
actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of  letters.  And  your  chair, 
or  your  letter  (if  a  true  artist  made  it)  will  have,  besides  its  good  looks,  a  suitabil- 
ity to  the  »th  degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That  explains,  in  a 
way,  why  the  experts  rave  over  the  fine  shapes  of  letters;  but  it  fails  to  ex^jlain 
wherein  the  shapes  are  fine.  If  you  seek  to  go  further  with  the  inquiry,  theories 
will  be  your  only  answer.  Here  is  a  theory  that  the  proponent  thinks  may  have 
sense  in  it :  Fine  type  letters  were,  in  the  first  place,  copies  of  fine  written  letters. 
Fine  written  letters  were  fine  because  they  were  produced  in  the  most  direct  iiiid 
simple  zcay  by  a  tool  in  the  hands  of  a  person  expert  in  its  use  — by  a  person,  more- 
over, who  was  an  artist  (i.e.,  a  person  equipped  to  make  sound  judgments  about 
lines,  curves,  proportions,  etc.).  The  artist  of  that  moment  when  printing  was  in- 
vented who  furnished  the  fine  written  patterns  for  type  was  ( luckily  for  printing) 
working  at  the  top  notch  of  a  fine  tradition  of  calligraphy.  He  was  making  sound 
judgments  about  lines  and  curves  and  proportions  of  letters.  He  had  resurrected 
an  ancient  distinguished  style  of  writing  and  had  added  to  it  the  quality  of  his  own 
fine  taste.  ITis  letters  flowed  from  his  pen  easily  and  simply,  without  any  tricks 
or  affectations  or  extraneous  embellishments.  He  was  simple  enough  and  artist 
enough  to  let  the  implement  itself  (and  his  facile  hand)  shape  the  product.  The 
fine  qualities  of  this  artist's  letter-forms  were  carried  over  into  the  metal  types  and 
sealed  up  there,  like  butterflies  in  amber.  It  is  argued,  however,  that  the  ascription 

Hozu  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design.'  Why 
do  the  pace-inalcers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  IThat 
do  they  see  in  it:-"  Why  is  it  so  superlatively  pleasant  to  their  eves?  Good  desii/n  is 

(two  point  leaded  and  solid) 

ABCDEFGHIJKLMNOPORSTUVWXYZ& 
ABCDEFGHIJKLMNOFQRSTUVWXYZ&' 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyz  1234567890($£,. : ;'-'?  !*t)  1234567890 

abcdefghijklmnopqrstuvzvxyc  12345678W($£,. : ;'-'?!  j)  '^3^5(^7890 

Matrix  Injormation:  11A4.  Length  of  linver  case  alpli.ihet.  135  pnints.  Comni.-i.  iieriml  and  thin  space.  .0.1SS:  figures.  .077;  figiiic 
space.  .077.  Will  run  in  yo  channel  layout.  Code  word.  N.-\OR.  Also  made  in  combination  with  .Antique  No.  1. 


11 

P  O  I  N  '1" 


705 


OH  Style  No,  1 


POINT 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN 
TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-M 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTH 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the  art  of  printing-  rave  over  a  specific 
face  of  type  ?  What  do  they  see  in  it  ?  Why  is  it  so  superlatively  pleasant  to 
their  eyes  ?  Good  design  is  always  practical  design.  And  what  they  see  in  a 
good  type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its 
work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size, 
as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the 
right  size  to  do  exactly  the  work  that  the  chair  has  to  do— neither  clumsy 
and  thick,  nor  "skinny"  and  weak— no  waste  of  material  and  no  lack  of 
strength.  And,  beyond  that,  the  chair  may  have  been  made  by  a  man  who 
worked  out  in  it  his  sense  of  fine  shapes  and  curves  and  proportions  — it 
may  be,  actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of  letters. 
And  your  chair,  or  your  letter  (if  a  true  artist  made  it)  will  have,  besides 
its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped  on 
paper  and  read.  That  explains,  in  a  way,  why  the  experts  rave  over  the  fine 
shapes  of  letters ;  but  it  fails  to  explain  wherein  the  shapes  are  fine.  If  you 
seek  to  go  further  with  the  inquiry,  theories  will  be  your  only  answer. 
Here  is  a  theory  that  the  proponent  thinks  may  have  sense  in  it :  Fine  type 
letters  were,  in  the  first  place,  copies  of  fine  written  letters.  Fine  written 
letters  were  fine  because  they  were  produced  in.  the  most  direct  and  simple 
way  by  a  tool  in  the  hands  of  a  person  expert  in  its  use— by  a  person,  more- 
over, who  was  an  artist  (i.e.,  a  person  equipped  to  make  sound  judgments 
about  lines,  curves,  proportions,  etc.).  The  artist  of  that  moment  when 
printing  was  invented  who  furnished  the  fine  written  patterns  for  type 
was  (luckily  for  printing)  working  at  the  top  notch  of  a  fine  tradition  of 
calligraphy.  He  was  making  sound  judgments  about  lines  and  curves  and 

Hozu  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to 

(tzvo  point  leaded) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPORSTUVWXYZ& 

ABCDEFGHIJKLMNOPORSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyz  1 234567890 ($£,. : ;'-'  ?  !*t)  1234567890 
abcdefghiiklmnopqrstnvzvxy.-::  1234567 890  ($£,. :;'-?!  \)  123436/890 

Matrix  Information:  12A4.  Length  of  lower  case  alphabet,  150  points.  Comma,  period  and  thin  space.  .042;  figures,  .084;  figure 
space,  .084.  Will  run  in  90  channel  layout.  Code  word,  NAOZ.  Also  made  in  combination  with  Antique  No.  1.  Antique  No.  1 
Italic,  Title  No.  1,  Title  No.  2  and  Cheltenham  Bold. 


706 


OM  Style  No,  1 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE 
FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  I 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  es- 
thetic design?  Why  do  the  pace-makers  in  the  art  of  printing- 
rave  over  a  specific  face  of  type  ?  What  do  they  see  in  it  ?  Why  is 
it  so  superlatively  pleasant  to  their  eyes  ?  Good  design  is  always 
practical  design.  And  what  they  see  in  a  good  type  design  is, 
partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has 
a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made 
nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has 
to  do— neither  clumsy  and  thick,  nor  "skinny"  and  weak— no 
waste  of  material  and  no  lack  of  strength.  And,  beyond  that, 
the  chair  may  have  been  made  by  a  man  who  worked  out  in  it 
his  sense  of  fine  shapes  and  curves  and  proportions— it  may  be, 
actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of  let- 
ters. And  your  chair,  or  your  letter  (if  a  true  artist  made  it ) 
will  have,  besides  its  good  looks,  a  suitability  to  the  nth  degree 
to  be  sat  in,  or  stamped  on  paper  and  read.  That  explains,  in  a 
way,  why  the  experts  rave  over  the  fine  shapes  of  letters ;  but  it 
fails  to  explain  wherein  the  shapes  are  fine.  If  you  seek  to  go 
further  with  the  inquiry,  theories  will  be  your  only  answer. 
Here  is  a  theory  that  the  proponent  thinks  may  have  sense  in 

Hozv  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  es- 
thetic design?  JVhy  do  tlie  pace-makers  in  the  art  of  printing 
raz>e  over  a  specific  face  of  type?  What  do  they  see  in  it?  JVhy  is 

(t-vu  jtuint  leaded) 

ABCDEFGHIJKLMNOPORSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVIVXYZ& 

ABCDEFGHIJKLMNOPORSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzl234567($£,.:;'-'?!*t)  1^34567 

ahcdefghijklmnopqrstuvzvxyzl234567($£,. :;'-?!  t J i-^345<^7 

Matrix  Inluiiiwlioii:  14A76.  I.ciiKtli  cf  Inwer  case  alpluibct.  17S  iK.int-..  ('. .111111.1.  perinil  .iiicl  thin  spaiL-.  .()-)S4:  I'lKures.  .0'X>»: 
Ht'iire  space.  .()<J6.S.  Will  run  in  90  channel  layout.  Code  word.  NAI'K.  Also  made  in  coinliiiiatiim  with  Antique  No.  1.  Title  Nu.  -' 
and  Cheltenham  Buld. 


14 

P  O  I  X  ']■ 


707 


18 

POINT 


Old  Style  No.  1 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A 
TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  D 

How  IS  one  to  assess  and  evaluate  a  type  face  in  terms  of 
its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of 
printing  rave  over  a  specific  face  of  type?  What  do  they 
see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes? 
Good  design  is  always  practical  design.  And  what  they 
see  in  a  good  type  design  is,  partly,  its  excellent  practical 
fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in 


(t7i>o  point  leaded) 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzI234567890($£,.:;'-'?!*t) 

Matrix  Information  :  18A79.  Length  of  lower  case  alphabet.  195  points.  Comma,  period  and  thin  space,  .0553;  figures.  .1107; 
figure  space,  .1107.  Will  run  in  90  channel  layout.  Code  word,  NAQI. 


-(°  LINOTYPE" '>- 


Honaldsomi     fTo  convert  Old  Style  No.  i  fonts  to  Ronaldson,  in  sises  from  6  to  14  point,  it  is 
if^ sion    '"'C'^h  necessary  to  change  these  characters  listed : 

CEFGLST^CE3567  .  :9^ce61 

§  These  characters  will  be  substituted  for  those  regularly  supplied  with  Old  Style 
No.  I  fo>its,  in  which  case  the  face  is  knr>zvn  as  Ronaldson  No.  i,  or  they  may  be  added 
to  the  regular  Old  Style  No.  i  sets  as  an  extra,  thus  making  available  two  faces  at 
practicallv  the  cost  of  one.  The  coniparison  matter  belozv  shozvs  the  change: 


10  POINT   OLD   STYLE   NO.   I 

The  most  delightful  feature  of  New 
Haven  is  the  green  with  the  three  old 
churches  which  form  a  beautiful  compo- 
sition, and  curiously  enough  the  Gothic 
Episcopal  Church  was  built  at  the  same 
time  as  its  two  classic  Puritan  brothers 
and  was  designed  by  the  architect  of 
one  of  them.  The  congregation  of  Center 
Church  was  the  oldest  of  the  three,  and 
the  building  was  the  fourth  to  be  erected 
on  the  site  where  in  1640  the  first  settlers 


10  POINT   RONALDSON   NO.   I 
The  MOST  DELIGHTFUL  FKATURE  of  New 

Haven  is  the  green  with  the  three  old 
churches  which  form  a  beautiful  compo- 
sition, and  curiously  enough  the  Gothic 
Episcopal  Church  was  built  at  the  same 
time  as  its  two  classic  Puritan  brothers 
and  was  designed  by  the  architecfi;  of 
one  of  them.  The  congregation  of  Center 
Church  was  the  oldest  of  the  three,  and 
the  building  was  the  fourth  to  be  erecfled 
on  the  site  where  in  1640  the  first  settlers 


(two  point  leaded) 


708 


OH  Style  No.  1  witli  combinatioins 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic 
design?  Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  Aetique  No.  1 
specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superla-  6, 7,8  9, 10,  u,  12 
tively  pleasant  to  their  eyes?  Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent  prac- 
tical fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of 
its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic 

design?  Wliy  do  the  pace-makers  in  the  art  of  printing  rave  over  a  Antique  No.  1 

specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superla-  Italic 

tively  pleasant  to  their  eyes?  Good  design  is  always  practical  de-     ^'  ■o^"'!  12  point 

sign.  And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent 

practical  fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in 

all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good 


How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic 
design?  Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  spe- 
cific face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively 
pleasant  to  their  eyes?  Good  design  is  always  practical  design.  And 
what  they  see  in  a  good  type  design  is,  partly,  its  excellent  practical  fit- 
ness to  perform  its  work.  It  has  a  ''heft"  and  balance  in  all  of  its  parts 
just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its 


Title  No.  1 

6,  H,  TO  and  12  point 


How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic 
design?  Why  do  the  pace=makers  in  the  art  of  printing  rave  over  a 
specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superla= 
tively  pleasant  to  their  eyes?  Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent  prac= 
tical  fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of 
its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair 


Title  No.  2 

6,  8.  10,  12 
and  14  point 


How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic 
design?  Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a 
specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superla- 
tively pleasant  to  their  eyes?  Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent  prac- 
tical fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of 
its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair 


Cihelteinliam 


5.  6.  8,  10,  12 
and  14  point 


709 


ENGLISH  ECONOMIC  CHANGES 

How  different  from  the  traditional  conception  is  the  relationship 
which  expediency  has  brought  about  between  the  Government 
and  its  citizens.  Every  act  of  our  lives  :  what  we  eat  or  drink,  or 
do,  or  buy,  has  been  the  subject  of  some  form  of  governmental 
adjustment.  Our  banks,  the  issuance  of  securities,  insurance,  and 
the  production  of  many  raw  materials  have  been  placed  under  the 
Government's  protecting  hand  for  the  benefit  of  the  whole.  And, 
at  the  moment  through  which  we  are  passing,  the  establishment 
of  vast  temporary  agencies  to  build  up  credit,  lend  money,  pro- 
vide work,  create  opportunity,  or  control  production  has  made  the 
function  of  Government  an  all-pervasive  influence. 

To  think  through  these  complicated  interrelationships,  indi- 
vidual, national,  and  international,  so  that  civilization  may  pro- 
ceed upon  orderly  and  smoothly  adjusting  lines  is  a  staggering 
but  compelling  proI:)lem,  too  great  perhaps  for  any  one  group  or 
any  one  time  to  hope  with  any  degree  of  reason  wholly  to  solve. 
And  yet  inroads  into  this  vast  territory,  a  little  way  here,  a  little 
way  there,  must  be  made ;  and  thinking  men  and  women,  freed 
from  the  barriers  of  prejudice  and  unshackled  by  traditionalism, 
will,  and  indeed  must,  point  the  way.  The  philosophy  of  econom- 
ics in  its  largest  sense  and  its  broadest  view  is  a  challenge  which 
must  be  met. 

A  glance  at  other  fields  of  accomplishment  may  n 
place.  Three  centuries  ago  there  began  an  era  of  ad 
the  physical  sciences  which  was  destined  to  unshac 
of  scientists  once  and  for  all.  Though  Galileo  was  c 
by  the  Inquisition  for  upholding  the  heretical  view 
that  the  earth  revolved  about  the  sun,  the  world  gr 
new  conceptions  of  the  universe  and  built  much  of  i 
knowledge  upon  the  foundation  laid  by  these  stead 
after  truth.  Step  by  step,  little  by  little,  the  vast  field 
known  was  explored  by  physicist  after  physicist.  E 
day  we  have  seen  the  physical  phenomena  of  the  uni 
preted  in  a  new  and  wholly  different  light.  Man's  r 


C"°  LINOTYPE") 


OLD  STYLE  NO.  I 


9^11  point 


*[I23]«. 


above:  This  text  is  from  The  Obligation  of  Univer- 
sities to  the  Social  Order,  published  by  New  York 
University  Press.  Set  in  ii  point  Old  Style  No.  i,  one 
point  leaded.  Decoration :  Matrix  Slides  6  point  No. 
504,  2  point  No.  403  ;  Caslon  Border  Matrices,  6  point 
No.  <;6-.-\,o6-B. 

RIGHT  :  Set  in  y  point  Old  Style  No.  i,  leaded  ;  24  point 
A-P-L.  Caslon  Old  Face  Italic ;  14  point  Old  Style 
No.  I  italic  and  small  caps.  Initial  letter,  42  point  Cas- 
lon Old  Face  .A.-P-L. 


T/ie  Story  of  the 
Caxton  Types 


CHAPTER   I 


P 


ERHAPS  no  part  of  the  typographic  art  is 
lidden  in  more  complete  darkness  than 
tlie  early  manufacture  of  the  types.  Con- 
siderable secrecy  no  doubt  accompanied  all  the 
operations  of  the  first  printers,  and  was  main- 
tained down  to  a  comparatively  late  period. 
Moreover,  it  was  but  natural  that  the  results  of 
the  new  art  should  hold  a  more  prominent  place 
in  men's  minds  than  the  process  by  which  those 
results  were  produced,  and  therefore,  although 
printers  and  printing  were  often  mentioned, 
we  find  nothing  concerning  the  mechanical  part 
of  type-founding  anterior  to  that  curious  little 
book  of  trades,  with  illustration  by  Jost  Am- 
man, which  was  issued  at  Frankfort  in  1568. 
The  author,  in  the  few  lines  which  accompa- 
nied the  illustration,  omits  all  reference  to  the 
process,  but,  from  the  wood-cut  of  the  "Schrift- 
giesser"  and  iiis  tools,  we  shall  have  occasion 


■  (^   LINOTYPE     0 


OLD  STYLE 
No.  3 


Old  Style  No.  3  has  been  one  of  the  most  useful  T^inotype  book 
and  periodical  faces  for  more  than  three  decades.  Historically 
it  stems  from  Bruce  Old  Style  No.  20,  a  face  that  was  exceed- 
ingly popular  in  the  days  of  hand  setting.  Its  simplicity  of 
design,  compact  fitting,  and  smooth,  even  color,  recommend  it 
for  a  wide  variety  of  work. 

The  face  is  remarkably  legible,  both  in  roman  and  italic, 
and  will  be  found  (|uite  useful  and  easy  to  read.  In  character 
count  Old  Style  No.  3  fs  just  a  trifle  less  in  length  than  Lino- 
type Old  Style  No.  7  ;  its  weight  of  line  or  color  is  just  between 
that  of  Old  Style  No.  7  and  Old  Stvle  No.  1 . 


5^ 


MERGENTHALER    LINOTYPE    COMPANY 

BROOKLYN,   NEW  YORK,   CHICAGO,   SAN   FRANCISCO,    NEW 
ORLEANS.    CANADIAN    LINOTYPE,    LIMITED,    TORONTO 

REPRKSENTATIVES    IN    Til?:    I'KIXC^II'AL    CITIES    OF     THE    WdKLl) 


■(.  LINOTYPE   -)• 


COMPARISON  OF  SIZES 


6  Point  Old  Style  No.  3  with  Italic  and  Small  Caps  (6A102)  Lower  case  alphabet,  90  points.  Figures.  .0415 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of 
printing  rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  ?  Why  do  the  pace-makers  in  the  ar  vbcd 

8  Point  Old  Style  No.  3  with  Italic  and  Small  Caps  (8A116)  Lower  case  alphabet,  102  points.  Figures,  .0553 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  ?  Why  do  the  pace-makers  in 
the  art  of  printing  rave  over  a  specific  face  of  type  ?  What  do  they  see  in  it  ?  Why  is  it  so  superlative  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  estlietic  design  ?  Why  do  the  pace-  VBCD 

10  Point  Old  Style  No.  3  with  Italic  and  Small  Caps  (10A98)  Lower  case  alphabet.  120  points.  Figures,  .0692 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS 

How  is  one  to  assess  andevaluate  a  type  face  in  terms  of  its  esthetic  design  ?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type  ?  What  do  they  see  i  1 234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  vbcd 

12  Point  Old  Style  No.  3  with  Italic  and  Small  Caps  (12A96)  Lower  case  alphabet,  143  points.  Figures,  .083 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TE 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  ? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  o  1 234 
HO  W  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  vbcd 


("'LINOTYPE'  0 

LIST  OF  CHARACTERS 

In  Two-Letter  Fonts  with  Italic  and  Small  Caps 

ABCDEFGHI TKLMNOPQRSTUVWXYZ 
ABCDEFGHIJKLMNOPQRSTUVWXYZ 

ABCDEFGHIJKLMNOPQRSTUVWXYZ 

12345         abcdefghijklmnopqrstuvwxyz         67890 
VBCDE         abcdef  ghijkhnno  pqrstiivwxyz         fgrtj 

?  !  (  I  )  *"-  — .ECE  lb  &£$  .  ..  fi  fl  ff  ffi  ffl  se  oe 

?/aIQO'' MCE  tb  ^  £v  -L  .    .  .  flY  ff  W  MKH 

12345         Z&  :()flffiffi$ffioe         67890 
12345         v&  :  {  )  fifflffl$a;ce         67890 

VaH^AHVaH     xz&.4£(e     @%t$§ii-[] 

OLD  sfYLE  FIGURES 

1234567890 
1234567890 

Made  in  all  point  sizes  and  will  be  substituted  for  those  regularly 
furnished  with  a  font,  if  so  ordered,  or  they  may  be  added  as  an  extra 


712 


OLD  STYLE  No.  3 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO 
THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  OF  TYPE?  WHAT  DO  T 

How  IS  ONE  lo  assess  and  evaluate  a  type  fare  in  terms  of  How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of 

its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  ait  of 

printing  rave  over  a  specific  face  of  type?  What  do  they  printing  rave  over  a  specific  face  of  type?  What  do  thcv 

see  in  it?  Why  is  it  so  superlatively  pleasant  to  the.r  eyes?  ^^^  -^  ^^  y^.^      -^  ,.,  ^^,  .s„pe,latively  pleasant  to  their  eves?        SIX 

Good  design   is  alwavs  practical  dentil.  And  what  they  ,-.       .   j     ■        •       ,  \.      ,■     I'j     ■         a    j      i    .  .1 

see  in  a  good  tvpe  design  is,  partlv,  its  excellent  practical  ^'""fi  design  is  always  practical  design.  And  what  they        ^^,  ,-„ 

fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  see  in  a  good  type  design  is,  partly,  its  excellent  practical        f^JliS  i 

all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has.  fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in 

Your  good  chair  has  all  of  its  parts  made  nicely  to  tlie  all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has. 

right  size  to  do  exactly  the   work  that  the  chair  has  to  Yo,ir  good  chair  has  all  of  its  parts  made  nicely  to  the 

do,   neither  clumsy  and  thick    nor  "skinny"  and  weak,  ,.;,,(  ^-.^^  ,g  ^^  exactlv  the   work  that  the  chair  has  to 

no  waste  of  material  and  no  lack  of  strength.  And,   lie-  ,  .  ,  ,  j  ,1  ■  1        „     ••  ],;„„,,"  .,„j   ,  „  1. 

vond  that,  the  chair  mav  have  been  made  by  a  man  who  d°>  neither  clumsy  and  thick    nor     skmny     and  weak, 

worked  out  in  it  his  sense  of  fine  shapes  and  curves  and  "o  waste  of  material  and  no  lack  of  strength.   And,  be- 

proportions:  it  may  be,  actually,  a  work  of  art.  The  same  yond  that,  the  chair  may  have  been  made  Ijy  a  man  who 

thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  worked  out  in  it  his  sen.se  of  fine  shapes  and  curves  and 

letter  (if  a  true  artist  made  it)  will  have,  besides  its  good  proportions:  it  may  be,  actuallv,  a  work  of  art.  The  same 

looks,   a   suitability   to  the   «th   degree   to   be  sat   in,   or  ji,;,,^,  i,oijy  fg^  shapes  of  letters.  And  your  chair,  or  your 
(solid)  (one  pi'iiil  Icidcd) 

How  IS  ONE  to  assess  and  evaluate  a  t\pe  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of 
printing  rave  over  a  specific  face  of  type?  W  hat  do  tlity  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes? 
Good  design  is  always  practical  design.  And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent  practical  fit- 
ness to  perform  its  work.  It  has  a  "heft"  and  fjalance  in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your 
good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither 
clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of  material  and  no  lack  of  strength.  And,  beyond  that,  the  chair 
may  have  been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and  curves  and  proportions:  i*  may  be, 
actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of  letters,  .^nd  your  chair,  or  your  letter  (if  a  true  artist  made 
it)  will  have,  besides  its  good  looks,  a  suitability  to  the  »th  degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That 
explains,  in  a  way,  why  the  experts  rave  over  the  fine  shapes  of  letters;  but  it  fails  to  explain  wherein  the  shapes  are 
fine.  If  you  seek  to  go  further  with  the  inquiry,  theories  will  be  your  only  answer.  Here  is  a  theory  that  the  proponent 
thinks  may  have  sense  in  it:  Fine  type  letters  weic,  in  the  fir.st  place,  copies  of  fine  written  letters.  F'ine  written  letters 
were  fine  because  they  were  produced  in  the  most  direct  and  simple  way  by  a  tool  in  the  hands  of  a  person  expert  in 
its  use,  by  a  person,  moreover,  who  was  an  artist  (i.e.,  a  person  equipped  to  make  sound  judgments  about  lines,  curves, 
proportions,  etc.).  The  artist  of  that  moment  when  printing  was  invented  who  furnished  the  fine  written  patterns  for 
type  was  (luckily  for  printing)  working  at  the  top  notch  of  a  fine  tradition  of  calligraphy.  He  was  making  sound  judg- 
ments about  lines  and  curves  and  proportions  of  letters.  He  had  resurrected  an  ancient  distinguished  style  of  writing 
and  had  added  to  it  the  quality  of  his  own  fine  taste.  His  letters  flowed  from  his  pen  easily  and  simply,  without  any 
tricks  or  affectations  or  extraneous  embellishments.  He  was  simple  enough  and  artist  enough  to  let  the  implement  itself 
(and  his  facile  hand)  shape  the  product.  The  fine  qualities  of  this  artist's  letter-forms  were  carried  over  into  the  metal 
types  and  sealed  up  there,  like  butlei  flies  in  amber.  It  is  argued,  however,  that  the  ascription  of  beauty  to  type  letters 
by  this  route  (i.e..  via  the  standards  of  calligraphy)  is  false  logic.  If  the  natural  and  simple  and  tastefully  controlled 
use  of  an  imiilcment  prodmcs  a  fine  result,  why  not  start  with  the  process  of  founding  type  instead  of  with  the  process 
of  writing  with  a  pen?  Why  not  cut  punches  and  strike  matrices  and  cast  type  metal  simply  and  naturally  and  taste- 
fully, and  make  types  that  reflect  a  suitatjle  artistic  use  of  the  process  of  typefounding?  I  think  that  the  argument  is 
esthetically  sound.  There  is  no  common  opinion  about  the  legibility  or  grace  or  vigor  of  various  type  faces  than  can  be 
quoted  as  authority.  One  man's  opinion  is  as  good  as  another's.  F^ach  commentator  has  his  own  pet  designs  and  his 
reasons  for  thinking  them  good.  Some  kind  of  comment  on  the  various  type  faces  in  general  use  is  desirable  in  this 
section  merely  for  the  purpose  of  bringing  the  argument  to  a  focus  on  actual  examples.  The  comment  that  follows  has 
no  m.ore  weight  than  this:  it  is  what  a  given  person  thinks  about  the  type  faces  that  are  at  the  service  of  advertisers  in 
this  country.  Let  us  begin  by  recalling  the  fact  that  the  specialist  is  in  the  habit  of  dividing  type  faces  into  two  broad 
classes:  "old  style,"  and  "modern."  I  lie  change  from  old  style  to  modern  took  place  at  the  beginning  of  the  nineteenth 
century,  so  that  the  modernity  of  the  "modern"  faces  is  not  so  conspicuous  as  their  name  might  lead  one  to  think.  But 
a  change  in  fashion  really  did  take  place,  and  there  are  structural  differences  that  make  the  cla.ssification  reasonable. 
Some  acquaintance  with  these  structural  differences  is  desirable  if  you  are  to  have  peace  in  the  type  family.  For,  while 
members  of  one  group  are  able  to  interchange  freely  and  peaceably  among  themselves,  if  you  try  to  put  them  both  into 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of 
printing  rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes? 
Good  design  is  always  praeticiil  design.  .4nd  what  thev  sec  in  a  good  type  desigti  is,  partly,  its  excellent  practical  fit- 

(tuv  fmnl  leaded) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ABCDEKIHIJKI.MNOPQRSnrvwXYZSi 

abcdefgliijklmnopqrstuvwxvzfiflffffiffll2.M,S(i7S9ii($£  ,. : ;'-'?!  't)  12?4';57890 
abcdef ghiikhnnopqrstuvwxyzfitl!jfnfni:!l5r,7S00( $£..::•-•?  !     )  12345^7^90 

Matrir  Iniormat\nn:  6A10J.  LeiiKth  i.f  l.iui-r  la'^c  .iliiliahet.  'KJ  pcints.  liKmes.  .0415.  Will  run  in  VIJ  ihanncl  l.iymit.  Coile  w.ird. 
NIF.Z. 


713 


OLD  STYLE  No.  3 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC 
DESIGN  ?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SP 

Flow  IS  ONE  to  assess  and  evaluate  a  type  face  in       How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of   its  esthetic  design?   Why  do  the  pace-       terms  of  its  esthetic  design?   Why  do  the  pace- 
El  GHT        makers  in  the  art  of  printing  rave  over  a  specific       makers  in  the  art  of  printing  rave  over  a  specific 

POINT        ^""^^  °!  *^P^  •  ^y^'^'  '^°  '^'7  ^.^"^  '"  'I-  ^H  '5  ''•^°  face  of  type  ?  What  do  they  see  in  it  ?  Why  is  it  so 

•^  ^^■'■"  *        superlatively  pleasant  to  their  eyes?  Good  design  i   .•     i       i           »  »     .u   ■             :>  ^      j  j     • 

.    '^,            ^     ^-     )   J     ■         A     J      1    ^  ii               •  superlatively  pleasant  to  their  eyes?  Good  design 

IS  al'ivays  practical  design.  And  what  they  see  in  a  .,                     .,,.         ,,,         , 

good  type  design  is,  partly,  its  excellent  practical  "  "^'^'^^  P'-'^'^ical  design.  And  what  they  see  in  a 

fitness  to  perform  its  work.  It  has  a  "heft"  and  bal-  goo"^  ^yP^  design  is,  partly,  its  excellent  practical 

ance  in  all  of  its  parts  just  right  for  its  size,  as  any  fitness  to  perform  its  work.  It  has  a  "heft"  and  bal- 

good  tool  has.  Your  good  chair  has  all  of  its  parts  ance  in  all  of  its  parts  just  right  for  its  size,  as  any 

made  nicely  to  the  right  size  to  do  exactly  the  work  good  tool  has.  Your  good  chair  has  all  of  its  parts 

that  the  chair  has  to  do,  neither  clumsy  and  thick,  niade  nicely  to  the  right  size  to  do  exactly  the  work 

nor  "skinny"  and  weak,  no  waste  of  material  and  that  the  chair  has  to  do,  neither  clumsy  and  thick, 

no  lack  of  strength.  And,  beyond  that,  the  chair  ^^^  "skinny"  and  weak,  no  waste  of  material  and 

(soM)  (one  p,<u,t  leaded) 

How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  ?  Why  do  the  pace-makers  in 
the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively 
pleasant  to  their  eyes?  Good  design  is  always  practical  design.  And  what  they  see  in  a  good  type  design 
is,  partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts 
just  riglit  for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right 
size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no 
waste  of  material  and  no  lack  of  strength.  And,  beyond  that,  the  chair  may  have  been  made  by  a  man  who 
worked  out  in  it  his  sense  of  fine  shapes  and  curves  and  proportions :  it  may  be,  actually,  a  work  of  art. 
The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  letter  (if  a  true  artist  made  it)  will 
have,  besides  its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped  on  paper  and  read. 
That  explains,  in  a  way,  why  the  experts  rave  over  the  fine  shapes  of  letters;  but  it  fails  to  explain  where- 
in the  shapes  are  fine.  If  you  seek  to  go  further  with  the  inquiry,  theories  will  be  your  only  answer.  Here 
is  a  theory  that  the  proponent  thinks  may  have  sense  in  it :  Fine  type  letters  were,  in  the  first  place,  copies 
of  fine  written  letters.  Fine  written  letters  were  fine  because  they  were  produced  in  the  most  direct  and 
simple  way  by  a  tool  in  the  hands  of  a  person  expert  in  its  use,  by  a  person,  moreover,  who  was  an  artist 
{i.e.,  a  person  equipped  to  make  sound  judgments  about  lines,  curves,  proportions,  etc.).  The  artist  of 
that  moment  when  printing  was  invented  who  furnished  the  fine  written  patterns  for  type  was  (luckily 
for  printing)  working  at  the  top  notch  of  a  fine  tradition  of  calligraphy.  He  was  making  sound  judg- 
ments about  lines  and  curves  and  proportions  of  letters.  He  had  resurrected  an  ancient  distinguished 
style  of  writing  and  had  added  to  it  the  quality  of  his  own  fine  taste.  His  letters  flowed  from  his  pen  eas- 
ily and  simply,  without  any  tricks  or  affectations  or  extraneous  embellishments.  He  was  simple  enough 
and  artist  enough  to  let  the  implement  itself  (and  his  facile  hand)  shape  the  product.  The  fine  qualities 
of  this  artist's  letter-forms  were  carried  over  into  the  metal  types  and  sealed  up  there,  like  butterflies  in 
amber.  It  is  argued,  however,  that  the  ascription  of  beauty  to  type  letters  by  this  route  {i.e.,  via  the  stand- 
ards of  calligraphy)  is  false  logic.  If  the  natural  and  simple  and  tastefully  controlled  use  of  an  implement 
produces  a  fine  result,  why  not  start  with  the  process  of  founding  type  instead  of  with  the  process  of 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in 
the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively 
pleasant  to  their  eyes?  Good  design  is  always  practical  design.  And  what  they  see  in  a  good  type  design 

(two  point  leaded) 

ABCDEFGHI  TKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

.'kBCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflffffifflI2345678O0($£,.:  ■.'-'?!*!)  12,^4567890 
abcdefghiiklmnopqrstuvwxyzfifLffffiffll234567890(?£, .:;•-'?!  Y)  123456/890 

Matri.r  Information:  8A116.  Length  of  lower  case  alpliabet,  102  points.  Figures.  .0553.  Will  run  in  90  channel  layout.  Code 
word.  N'l  FY. 


714 


OLD  STYLE  No.  3 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS 
ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRIN 

Ho'w  IS  OXK  to  assess  and  evaluate  a  t_\'| it- 
face  in  terms  of  its  esthetic  desitfn?  Why  do 


How  IS  ONE  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design  ?  Why  do 
the  pace-makers  in  the  art  of  printing  rave 
over  a  specific  face  of  type?  What  do  they 
see  in  it  ?  Why  is  it  so  superlatively  pleasant 
to  tlieir  eyes?  Good  design  is  always  practi- 
cal design.  And  what  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fit- 
ness to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its 


the  j)a(e-makers  in  the  art  of  jjrinting  rave 
over  a  specific  face  of  type?  What  do  they 
see  in  it  ?  Why  is  it  so  su{)erlatively  jileasant 
to  their  eyes.-'  (lood  design  is  nhivavs  practi- 
cal design.  And  what  they  see  in  a  good  ty])e 
design  is,  partly,  its  excellent  practical  fit- 
ness to  perform  its  work.  It  has  a  "heft"  and 


size,  as  any  good  tool  has.  Y^our  good  chair      balance  in  all  of  its  parts  just  right  for  its 
has  all  of  its  jjarts  made  nicely  to  the  right      size,  as  any  good  tool  has.  Your  good  chair 


TEN 
POINT 


How  IS  OXE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  t\'i)e  ?  What  do  they  see  in  it  ? 
Why  is  it  so  superlatively  j:)leasant  to  their  eyes?  Good  desigji  is  always  practicid  design. 
And  what  they  see  in  a  good  tyjie  design  is,  partly,  its  excellent  jjractical  fitness  to  perform 
its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good 
tool  has. Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly  the 
work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste 
of  material  and  no  lack  of  strength.  .\nd,  be}nn(l  that,  the  chair  mav  ha\e  been  made  b\'  a 
man  who  worked  out  in  it  his  sense  of  fine  shajies  and  curves  and  ])roportions:  it  may  be, 
actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of  letters.  .And  your  chair,  or  your 
letter  (if  a  true  artist  made  it )  will  have,  besides  its  good  looks,  a  suitaljility  to  the  ;/th  de- 
gree to  be  sat  in,  or  stamped  on  pajier  and  read.  That  explains,  in  a  wa\',  why  the  experts 
rave  over  the  fine  shapes  of  letters;  but  it  fails  to  explain  wherein  the  shapes  are  fnie.  If  you 
seek  to  go  further  with  the  inquiry,  theories  will  be  }our  only  answer.  Here  is  a  theory  that 
the  proponent  thinks  may  have  sense  in  it:  Fine  ty])e  letters  were,  in  the  first  place,  copies 
of  fine  written  letters.  Fine  written  letters  were  fine  because  they  were  iirotlucetl  in  the  most 
direct  and  simple  wa\-  by  a  tool  in  the  hands  of  a  jjerson  expert  in  its  use,  b_\-  a  person,  more- 
over, who  was  an  artist  (i.e.,  a  person  equipped  to  make  sound  judgments  aljout  lines, 
curves,  proportions,  etc.).  The  artist  of  that  moment  when  jirinting  was  invented  who  fur- 
nished the  fine  written  patterns  for  tyjie  was  (luckil\'  for  ])rinting)  working  at  the  toj)  notch 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  ^  Why  do  the 
pace-makers  in  the  art  of  printitig  rave  over  a  specific  face  of  type ^  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  akways  practical  design. 

(t-.t'o  f <■'!•!  U\ul,;l) 

ABCDEFGHI IKLAINOPQRSTUVWXYZ  & 
ABCDEFGHl'jKLMNOrQRSTlJVWXYZ& 

.\BCDEFr,mjKLXrN()PQRSTUV\VXVZ& 

abcdefghijklmnopqrstuvwxyzfiflffffiffll2,H567890($£,.  :;'-'?!*!)  1234567890 
abcdefghijklmnop(p:stu7'w.\'yztitlfffiffU2S-l567S90(  $£,.:;'-'  ?!     )  123456-890 


Matrix  Inf.n 
word.  .MOT. 


(M    i;t^o  alpliaticl.    1  _'n   I'tiitits.    l-'imirt- 


,()69_'.  Will   run   in  90  cli.iiim-1  lay.uil.   Code 


715 


OLD  STYLE  No.  3 


TWELVE 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TE 
OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN 

How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
POINT  Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of 
type  ?  What  do  they  see  in  it  ?  Why  is  it  so  superlatively  pleasant  to  their  eyes  ? 
Good  design  is  always  practical  design.  And  what  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool 
has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do  ex- 
actly the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny" 
and  weak,  no  waste  of  material  and  no  lack  of  strength.  And,  beyond  that,  the 
chair  mav  have  been  made  bv  a  man  who  worked  out  in  it  his  sense  of  fine 
shapes  and  curves  and  proportions:  it  may  be,  actually,  a  work  of  art.  The 
same  thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  letter  (if  a  true 
artist  made  it)  will  have,  besides  its  good  looks,  a  suitability  to  the  wth  degree 
to  be  sat  in,  or  stamped  on  paper  and  read.  That  explains,  in  a  way,  why  the 
experts  rave  over  the  fine  shapes  of  letters ;  but  it  fails  to  explain  wherein  the 
shapes  are  fine.  If  you  seek  to  go  further  with  the  inquiry,  theories  will  be 
your  only  answer.  Here  is  a  theory  that  the  proponent  thinks  may  have  sense 
in  it:  Fine  type  letters  were,  in  the  first  place,  copies  of  fine  written  letters. 
Fine  written  letters  were  fine  because  they  were  produced  in  the  most  direct 
and  simple  way  by  a  tool  in  the  hands  of  a  person  expert  in  its  use,  by  a  per- 
son, moreover,  who  was  an  artist  (i.e.,  a  person  equipped  to  make  sound  judg- 
ments about  lines,  curves,  proportions,  etc.).  The  artist  of  that  moment  when 
printing  was  invented  who  furnished  the  fine  written  patterns  for  type  was 
(luckily  for  printing)  working  at  the  top  notch  of  a  fine  tradition  of  calligra- 

{ two  paint  leaded) 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes? 

(three  point  leaded) 

ABCDEFGHITKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRST  UV  WX  YZ& 

ABCDErGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflfffiiffil  2345678($£,. :;'-'?!  *t)  1 2345678 
abcdefghijklmnopqrstuvwx'yzf2flffffijfll23456r8($£,. :;'-'? !   f)  12345678 

Matrix  Information  :  12A96.  Length  of  lower  case  alplial)et,  143  points.  Figures.  .083.  Will  run  in  90  channel  layout.  Code 
word.  NIQA. 


716 


mAn  Exceptionally  Legible  Modernized  Old  Style  I 

Linotype  Old  Style  No.  7  is  largely  based  upon  a  face  cut  by 
the  Bruce  Foundry  in  the  early  seventies.  This  Bruce  face,  in 
turn,  appears  to  have  followed  in  all  essentials  the  details  of  a 
face  designed  and  cut  some  years  before  by  Messers.  IMiller  & 
Richard,  the  celebrated  Edinburgh  type  founders. 

For  years,  Old  Style  No.  7  has  been  one  of  the  most  popular 
Linotype  book  and  periodical  faces— a  tribute  of  continued 
usefulness  due,  in  no  small  measure,  to  the  splendid,  even 
color  of  the  type,  its  uncommon  legibility,  as  well  as  its  com- 
pact fitting  and  maximum  word  count. 

The  slight  degree  of  contrast  between  thick  and  thin  strokes  of 
the  individual  letters  and  an  entire  absence  of  hair-lines,  make 
Old  Style  No.  7  an  unusually  easy  face  to  print  on  almost  any 
kind  of  stock.  Eleven  closely-graded  sizes  are  available,  from 
6  to  24  point  inclusive.  These  are  shown  on  following  pages. 


MERGENTHALER  LINOTYPE   COMPANY 

BROOKLYN,  NEW  YORK 

NEW  YORK  CITY,  CHICAGO,  SAN   FRANCISCO,  NEW  ORLEANS.   CANADIAN    LINOTYPE, 
LIMITED,  TORONTO,  CANADA.  REPRESENTATIVES  IN  THE  PRINCIPAL  CITIES  OF  THE  WORLD 


linH-lIHl COMPARISON   OF   SIZES     ^  ^"  ^' ^°^"^ 


6  Point  (f;A154)  Lower  case  alphaliet.  85  points.  Figures.  .0484 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  T 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of  pri  1234 
How  is  one  to  assess  and  evaluate  a  type  jace  in  terms  oj  its  esthetic  design?  Wliy  do  the  pace-makers  in  the  art  oj  pri  vbcd 

7  Point  n^9f))  Lower  case  alphabet.  95  points.  Figures,  .0553 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  E.STHETIC  DESIGN? 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  t  1234 
How  is  one  to  assess  and  evaluate  a  type  jace  in  terms  oj  its  esthetic  design?  Why  do  the  pace-makers  in  t  vbcd 

8  Point  (8A212)  Lower  case  alphaliet.  104  pmnts.  Figures.  .0553 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DE 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-mak  1234 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-mak  vbcd 

9  Point  (9A62)  Lower  case  alphabet.  112  points.  Figures,  .0622 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTH 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pa  1234 
How  is  one  to  assess  and  evaluate  a  type  jace  in  terms  of  its  esthetic  design?  Why  do  the  pa  vbcd 

10  Point  (10A184)  Lower  case  alphabet.  122  points.  Figures.  .0692 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  ?  Why  do  1234 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  vbcd 

10";  Point  (10'..A2)  Lower  case  alphabet.  129  points.  Figures,  .0692 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  I 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  ?  W  1234 
How  is  one  to  assess  and  evaluate  a  type  jace  in  terms  of  its  esthetic  design  ?  W  vbcd 

11  Point  (11A58)  Lower  case  alphabet,  135  points.  Figures,  .0761 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  1234 
How  is  one  to  assess  and  evaluate  a  type  jace  in  terms  oj  its  esthetic  design?  vbcd 

12  Point  (12A19I))  Lower  case  alphabet,  146  points.  Figures.  .083 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TER 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  de  1 234 
How  is  one  to  assess  and  evaluate  a  type  jaee  in  terms  oj  its  esthetic  de  vbcd 

14  Point  (14A120)  Lower  case  alphabet.  171  points.  Figures,  .0968 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  1234 
How  is  one  to  assess  and  evaluate  a  type  jace  in  terms  of  its  vbcd 

18  Point  (ISAiyj*  Lower  case  alphabet.  220  points.  Figures,  .1107 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  T 

How  is  one  to  assess  and  evaluate  a  type  fac  1234 

24  Point  (24A79)  Lower  case  alphabet.  298  points.  Figures.  .166 

HOW  IS  ONE  TO  ASSESS  AND  EV 
How  is  one  to  assess  and  evalua  1234 

See  page  729  for  List  of  Characters  in  Two-Letter  Fonts,  and  Ronaldson  conversion  note 


718 


'J2Ll212il oMI     STVI.I-:     >0.    7     snUHMXT 


HOW  IS  0\E  TO  ASSESS  A\I)  EVALUATE  A  TYPE  FACE  IX  TERMS  OF  FI'S  ESTHEITC  DESIGX?  WHY  DO 
THE  PACE-JIAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  S1T-:CIFIC  FACE  OF  TVl'K?  VVHA  F  DO  1 IIEV 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  I'ACE-MAKEKS  IN  THE  AR 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  ^ 

esthetic  design?  Why  do  the  pace-makers  in  the  art  of  print-  esthetic  desif^n?  Why  do  the  pace-makers  in  the  art  of  print-  " 

ing  rave  over  a  specilic  faci-  of  type.'  What  do  they  see  m  j„„  ^3,,,,  „^,j.,.  ^  specific  face  of  type?  What  do  they  see  in       I'OI  NT 

It?  Why  IS  ,t  so  superlative  y  pleasant  to  the.r  eyes/  Good  ;  ,  ^^,^      j    ,         superlatively  pleasant  to  their  eyes?  Good 

design  IS  always  practical  design.  And  what  they  see  in  a         ,    .       ?      ,  .•     1    1    •         ,     1      ,    .   ,1 

good  type  design  is.  partly,  its  excellent  practical  fitness  to  <1''^'K"  ''^  =''»a>-s  practical  design.  And  what  they  see  in  a 

perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its  good  type  design  is.  partly,  its  excellent  practical  fitness  to 

parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  jxrform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its 

chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do  parts  just  right  for  its  size,  as  any  good  tool  has.  \'our  good 

exactly  the  work  that  the  chair  has  to  do-neither  clumsy  ^1,^;^  has  allOf  its  parts  made  nicely  to  the  right  size  to  do 

and   thick,  nor  "skinny"  an<    weak-no  waste  of   material  ,     „  ^.  „,.,(  j,,^.  ^^^-^  j^^^  to  do-neither  clumsy 

and  no  lack  ol  strength.  .And.  beyond  that,  the  chair  may  ' 


have  been  made  by  a  man  who  worked  out  in  it  his  sense  of 


and   thick,  nor  "skinny"  and  weak— no  waste  of  material 


fine  shapes  and  curves  and  proportions-it  may  be.  actually,  an<l  n<>  'ack  of  strength.  And,  beyond  that,  the  chair  may 

a  work  of  art.  The  same  thing  holds  for  shapes  of  letters.  have  been  made  by  a  man  who  worked  out  in  it  his  sense  of 

And  your  chair,  or  your  letti-r  (if  a  true  artist  made  it )  will  f.ne  shapes  and  curves  and  proportions— it  may  bi-,  actually. 

(uilij)  1 1. lie  /ii.i;i/  Uadejl 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  [lace-makers  in  the  art  (if  printing 
rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes.'  Cuml  ilnign  is 
al'dhiys  practical  daiiin.  And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent  practical  htness  to  perfurm  its  work. 
It  has  a  "heft"  and  balance  in  all  of  its  |)arts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts 
made  nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do  — neither  clumsy  and  thick,  nor  "skinny"  and 
weak  — no  waste  of  material  and  no  lack  of  strength.  And,  beyond  that,  the  chair  may  have  been  made  by  a  man  who 
worked  out  in  it  his  sense  of  fine  shajies  and  curves  and  proportions— it  may  be,  actually,  a  work  of  art.  The  same  thing 
holds  for  shapes  of  letters.  And  your  chair,  or  your  letter  (if  a  true  artist  made  it)  will  have,  besides  its  good  looks,  a  suita- 
bility to  the  "th  degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That  explains,  in  a  way,  why  the  experts  rave  over  the 
fine  shapes  of  letters;  but  it  fails  to  explain  wherein  the  shapes  are  fine.  If  you  seek  to  go  further  with  the  in(|uiry.  theories 
will  be  your  only  answer.  Here  is  a  theory  that  the  proponent  thinks  may  have  .sense  in  it :  Fine  type  letters  were,  in  the  first 
place,  copies  of  fine  written  letters.  Fine  written  letters  were  fine  because  they  were  |)roduced  in  the  most  direct  anil  simple 
way  by  a  tool  in  the  hands  of  a  person  ex|)ert  in  its  use— by  a  person,  moreover,  who  was  an  artist  (/.c,  a  person  e(|uipped 
to  make  sound  judgments  about  lines,  curves,  proportions,  etc.).  The  artist  of  that  moment  when  printing  was  invented 
who  furnished  the  fine  written  patterns  for  type  was  (luckily  tor  printing)  working  at  the  top  notch  of  a  fine  tradition  of 
calligraphy.  He  was  making  sound  judgments  about  lines  and  curves  and  proportions  of  letters.  He  had  resurrected  an  an- 
cient distinguished  style  of  writing  and  had  added  to  it  the  (|uality  of  his  own  fine  tasle.  His  letters  flowed  from  his  pen  eas- 
ily and  simply,  without  any  tricks  or  affectations  or  extraneous  embellishments.  He  was  simple  enough  and  artist  enough  to 
let  the  implement  itself  (and  his  facile  hand)  shape  the  product.  The  fine  (|ualities  of  this  artist's  letter-forms  were  carried 
over  into  the  metal  ty]ies  and  sealed  ui>  there  like  butterflies  in  amber.  It  is  argued,  hcnvever.  that  the  ascription  of  beauty 
to  type  letters  by  this  route  (i.e.,  via  the  standards  of  calligraphy)  is  false  logic.  If  the  natural  and  simple  and  tastefully 
controlled  use  of  an  implement  produces  a  fine  result,  why  not  start  with  the  process  of  founding  type  instead  of  with  the 
process  of  writing  with  a  pen  ?  Why  not  cut  punches  and  strike  matrices  and  cast  type  metal  simply  and  naturally  and  taste- 
fully, and  make  types  that  reflect  a  suitable  artistic  use  of  the  process  of  typefounding?  I  think  that  the  argument  is  estheti- 
cally  sound.  There  is  no  common  opini<m  about  the  legibility  or  grace  or  vigor  of  various  tyjie  fates  that  can  be  quoted  as 
authority.  One  man's  opinion  is  as  good  as  another's.  Each  commentator  has  his  own  pet  designs  and  his  own  reasons  for 
thinking  them  good.  Some  kind  of  comment  on  the  various  type  faces  in  general  use  is  desirable  in  this  section  merely  for 
the  jiurpose  of  bringing  the  argument  to  a  focus  on  actual  examples.  The  comment  that  follows  has  no  more  weight  than 
this:  it  is  what  a  given  person  thinks  about  the  type  faces  that  are  at  the  service  of  advertisers  in  this  country.  Let  us  begin 
by  recalling  the  fact  that  the  speualist  is  in  the  habit  of  di\iding  type  faces  into  two  broad  classes  — "old  style."  and  "mod- 
ern." The  change  from  old  style  to  modern  took  place  at  the  beginning  of  the  nineteenth  century,  so  that  the  modernity  of 
the  "modern"  faces  is  not  so  conspicuous  as  their  name  might  lead  one  to  think.  But  a  change  in  fashion  really  did  take 
place,  and  there  are  structural  differences  that  make  the  classification  reasonable.  Some  ac(]uaintance  with  these  structural 
differences  is  desirable  if  you  are  to  have  peace  in  the  type  family.  For.  while  members  of  one  group  are  able  to  interchange 
freely  and  i>caceably  among  themselves,  if  you  try  to  put  them'both  into  the  same  design  a  race  riot  is  apt  to  result.  The 
characteristic  feature  of  a  modern  letter  is  its  perpendicularity:  the  main  elements  are  either  perpendicular  to  the  base  line 
or  parallel  with  it.  Whereas  in  an  old  style  type  there  are  slanting  features  that  give  it  its  character.  Between  these  two 
groups  there  are  many  faces  that  are  called  transitional:  that  is  to  sav,  their  progenitors  were  old  style  faces  beginning  to 
be  modern,  or  modern  faces  with  some  lingering  memories  of  old  style.  There  are,  beside,  many  faces  that  never  had  any 
grandfathers  to  remember  at  all  — plain  mongrel.  Papers  and  types  are  tools  supplied  to  the  designer  of  advertising  ready 
made.  He  picks  what  he  wants  from  the  stock  on  the  retailers'  shelves.  But  the  next  pieces  of  apiiaratus.  drawn  lettering  and 
ornaments,  are  made  to  his  order.  How  these  latter  affairs  turn  out  is  more  or  less  "up  to"  the  atlvertising  architect :  whereas 
in  the  case  of  paper  and  type  he  may  reasonably  claim  that  his  responsibility  is  less  because  he  is  obliged  to  use  what  he  is 
IIoui  is  one  to  assess  and  evaluate  a  type  face  in  terms  oj  its  estltetic  dcsian'  Why  do  t/ie  fi'cc-inakers  in  the  art  of  printing 
rave  over  a  specific  face  oj  typef  What  do  they  see  in  it'  Why  is  it  so  superlatively  pleasant  to  their  eyes:'  Good  design  is 

(set  U'illi  tnun  dc.tcciuteis.  m,  7  I'oiiit  fcm/.v) 

ABCnEFGHITKLMNOPORSTUVWXVZ& 
A  BCDEFCH  0  KLM  .VOPQRSTUl'W  .\VZ& 

ARCDEFCHIJKLMN'0PQRSTU\'\V\VZ,1 

12.i45678«0        abcdefghijklmnopcirstuvwxyz(Sf..:  :'-';"*t)         i2345'i7Soo 
12345O7SV0        ahidi  fi;hijklmnopqrstuv'<c'\'yz(y...:  ,'-'/.'    t '         /jjj^rt^Syo 

Matrix  Inlormation  :  CAI'M.  I  i-nv;tli  "t  l.iwer  case  .-ilplKiliet.  Ss  |inints.  Figures.  .0-1S4  :  rinnm.i,  periorl  .tii.I  lliiil  sp.u-o.  .0J77. 
Will  run  ill  00  channel  l.iy..ut.  (  "ile  w.ird.  NIRK. 


719 


SEVEN    POINT  «.,    .*       ^.r.,^r.    -,       _T  .^        -,  SEVEN    POINT 

— OLD     SIYLE    IVO.    7    


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN? 
WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  OF 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKE 

§  How  is  one  to  assess  and  evaluate  a  type  face  in  terms  How  is  one  to  assess  and  evaluate  a  type  face  in  terms 

POI N  T      °^  "^  esthetic  design?  Why  do  the  pace-makers  in  the  of  its  esthetic  design?  Why  do  the  pace-makers  in  the 

art  of  printing  rave  over  a  specific  face  of  type?  What  art  of  printing  rave  over  a  specific  face  of  type?  What 

do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  ^^  ^j^      ^^^  ;„  jj,  y^.^^     -^  -^  ^^  superlatively  pleasant 

to  their  eyes?  Good  design  is  always  practical  design.  4     ^u  •  t,  /^     j  j     •       •      1  »•     1  j     • 

And  what  they  see  in  a  good  type  design  is.  partly,  its  '°  'J^";;  ^^^f  ^ood  design  is  always  practical  design, 

excellent  practical  fitness  to  perform  its  work.  It  has  a  A"d  what  they  see  in  a  good  type  design  is,  partly,  its 

"heft"  and  balance  in  all  of  its  parts  just  right  for  its  excellent  practical  fitness  to  perform  its  work.  It  has  a 

size,  as  any  good  tool  has.  Your  good  chair  has  all  of  "heft"  and  balance  in  all  of  its  parts  just  right  for  its 

its  parts  made  nicely  to  the  right  size  to  do  exactly  the  size,  as  any  good  tool  has.  \''our  good  chair  has  all  of 

work  that  the  chair  has  to  do-neither  clumsy  and  its  parts  made  nicely  to  the  right  size  to  do  exactly  the 

thick,  nor  "skinny"  and  weak-no  waste  of  material  ^^rk  that  the  chair  has  to  do -neither  clumsy  and 

and  no  lack  of  strength.  And,  beyond  that  the  chair  ,^1^^  ,,„^.  ...kinny"  and  weak-no  waste  of  material 
may  have  been  made  by  a  man  who  worked  out  in  it 

(solid)  (one  point  leaded) 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  estlietic  design?  Why  do  the  pace-makers  in  the  art 
of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design.  And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent 
practical  fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any 
good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly  the  work  that  the 
chair  has  to  do  — neither  clumsy  and  thick,  nor  "skinny"  and  weak— no  waste  of  material  and  no  lack  of  strength. 
And,  beyond  that,  the  chair  may  have  been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and 
curves  and  proportions  — it  may  be,  actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of  letters.  And  your 
chair,  or  your  letter  (if  a  true  artist  made  it)  will  have,  besides  its  good  looks,  a  suitability  to  the  «th  degree  to 
be  sat  in,  or  stamped  on  paper  and  read.  That  explains,  in  a  way,  why  the  experts  rave  over  the  fine  shapes  of 
letters:  but  it  fails  to  explain  wherein  the  shapes  are  fine.  If  you  seek  to  go  further  with  the  inquiry,  theories  will 
be  your  only  answer.  Here  is  a  theory  that  the  proponent  thinks  may  have  sense  in  it:  Fine  type  letters  were,  in 
the  first  place,  copies  of  fine  written  letters.  Fine  written  letters  were  fine  because  they  were  produced  in  the  most 
direct  and  simple  way  by  a  tool  in  the  hands  of  a  person  expert  in  its  use  — by  a  person,  moreover,  who  was  an 
artist  {i.e.,  a  person  equipped  to  make  sound  judgments  about  lines,  curves,  proportions,  etc.).  The  artist  of  that 
moment  when  printing  was  invented  who  furnished  the  fine  written  patterns  for  type  was  (luckily  for  printing) 
working  at  the  top  notch  of  a  fine  tradition  of  calligraphy.  He  was  making  sound  judgments  about  lines  and 
curves  and  proportions  of  letters.  He  had  resurrected  an  ancient  distinguished  style  of  writing  and  had  added  to 
it  the  quality  of  his  own  fine  taste.  His  letters  flowed  from  his  pen  easily  and  simply,  without  any  tricks  or  affec- 
tations or  extraneous  embellishments.  He  was  simple  enough  and  artist  enough  to  let  the  implement  itself  (and 
his  facile  hand)  shape  the  product.  The  fine  qualities  of  this  artist's  letter-forms  were  carried  over  into  the  metal 
types  and  sealed  up  there  like  butterflies  in  amber.  It  is  argued,  however,  that  the  ascription  of  beauty  to  type 
letters  by  this  route  (i.e.,  via  the  standards  of  calligraphy)  is  false  logic.  If  the  natural  and  simple  and  tastefully 
controlled  use  of  an  implement  produces  a  fine  result,  why  not  start  with  the  process  of  founding  type  instead  of 
with  the  process  of  writing  with  a  pen?  Why  not  cut  punches  and  strike  matrices  and  cast  type  metal  simply  and 
naturally  and  tastefully,  and  make  types  that  reflect  a  suitable  artistic  use  of  the  process  of  typefounding?  I 
think  that  the  argument  is  esthetically  sound.  There  is  no  common  opinion  about  the  legibility  or  grace  or  vigor 
of  various  type  faces  that  can  be  quoted  as  autho'-.ty.  One  man's  opinion  is  as  good  as  another's.  Each  commen- 
tator has  his  own  pet  designs  and  his  own  reasons  for  thinking  them  good.  Some  kind  of  comment  on  the  various 
type  faces  in  general  use  is  desirable  in  this  section  merely  for  the  purpose  of  bringing  the  argument  to  a  focus 
on  actual  examples.  The  comment  that  follows  has  no  more  weight  than  this:  it  is  what  a  given  person  thinks 
about  the  type  faces  that  are  at  the  service  of  advertisers  in  this  country.  Let  us  begin  by  recalling  the  fact  that 
the  specialist  is  in  the  habit  of  dividing  type  faces  into  two  broad  classes— "old  style,"  and  "modern."  The  change 
from  old  style  to  modern  took  place  at  the  beginning  of  the  nineteenth  century,  so  that  the  modernity  of  the 
"modern"  faces  is  not  so  conspicuous  as  their  name  might  lead  one  to  think.  But  a  change  in  fashion  really  did 
take  place,  and  there  are  structural  differences  that  make  the  classification  reasonable.  Some  acquaintance  with 
How  is  one  to  assess  and  evaluate  a  type  jace  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  art 
oj  printing  rave  over  a  specific  Jace  0)  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their 

(set  with  long  descenders,  on  S  point  body) 

ABCDEFGHI JKLMNOPQRSTUVWXYZ  & 
ABCDEFCIIUKLAh\OPQRSTUVWXYZ& 

ABCDEFGHI  J  KLMNOPQRSTUVWXYZ& 

1234567890       abcdefghijklmnopqrstuvwxyz($£,.:  ;'-'?!*t)        1234567890 
1234567890       abcdcjghijklmnopgrstuvwxyz($£,.: ;'-'? !  \)        1234567890 

Matrix  Injoymation :  7A96.  Length  of  lower  case  alphabet,  95  points.  Figures,  .0553;  comma,  period  and  thin  space,  .0277. 
Will  run  in  90  channel  layout.  Code  word.  NISI. 


720 


EIGHT    POINT  ,,  ,  EIGHT    POINT 


8 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DE- 
SIGN ?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  EACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN  ?  WHY  DO  THE'PACE- 

How  is  one  to  assess  and  evaluate  a  type  face  in  How  is  one  to  assess  and  evaluate  a  type  face  in 

terms  of  its  esthetic  design?  Wliy  do  the  pace-  terms  of  its  esthetic  design?  Why  do  the  pace-      ''"'^  ' 

makers  in  the  art  of  printing  rave  over  a  specific  makers  in  the  art  of  printing  rave  over  a  specific 

face  01  type  ?  VVhat  do  they  see  m  it  ?  Why  is  it  so  f^^g  ^^  ^        p  ^^at  do  they  see  in  it  ?  Whv  is  it  so 

superlatively  pleasant  to  their  eyes?  Good  design  i  ,•     i       i  ,  .     .i    •  :>  r'     'i    i    • 

•    '^i  ,•     1   1    •        ^     >     \    ^  ,u  ■  superlatively  pleasant  to  their  eyes?  Good  design 

IS  alwa\s  practical  design.  And  what  they  see  in  a  .    ^,  -^  ^ .     ,    ,    .        .     i      i        ,  • 

good  type  design  is,  partly,  its  excellent  practical  ^^  ^'^ays  practical  design.  And  what  they  .sec  in  a 

fitness  to  perform  its  work.  It  has  a  "heft"  and  Kood  type  design  is,  partly,  its  excellent  practical 

balance  in  all  of  its  parts  just  right  for  its  size,  as  fitness  to  perform  its  work.  It  has  a  "heft"  and 

any  good  tool  has.  Your  good  chair  has  all  of  its  balance  in  all  of  its  parts  just  right  for  its  size,  as 

parts  made  nicely  to  the  right  size  to  do  exactly  any  good  tool  has.  Your  good  chair  has  all  of  its 

the  work  that  the  chair  has  to  do -neither  clum.sy  p^rts  made  nicely  to  the  right  size  to  do  exactly 

(solid)  (onr  i'oint  hadi-d  I 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  ?  Why  do  the  pace-makers  in 
the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  .see  in  it?  Why  is  it  so  superlatively 
pleasant  to  their  eyes?  Good  design  is  alvjays  practical  design.  And  what  they  see  in  a  good  type  design 
is,  partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts 
just  right  for  its  size  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right 
size  to  do  exactly  the  work  that  the  chair  has  to  do  — neither  clumsy  and  thick,  nor  "skinny"  and  weak- 
no  waste  of  material  and  no  lack  of  strength.  And,  beyond  that,  the  chair  may  have  been  made  by  a  man 
who  worked  out  in  it  his  sense  of  tine  shapes  and  curves  and  proportions— it  may  be,  actually,  a  work  of 
art.  The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  letter  (if  a  true  artist  made  it) 
will  have,  besides  its  good  looks,  a  suitability  to  the  nih  degree  to  be  sat  in,  or  stamped  on  paper  and 
read.  That  explains,  in  a  way,  why  the  experts  rave  over  the  fine  shapes  of  letters;  but  it  fails  to  explain 
wherein  the  shapes  are  fine.  If  you  seek  to  go  further  with  the  inc|uiry,  theories  will  be  your  only  answer. 
Here  is  a  theory  that  the  proponent  thinks  may  have  sense  in  it:  Fine  type  letters  were,  in  the  first  place, 
copies  of  fine  written  letters.  Fine  written  letters  were  fine  because  they  were  produced  in  the  most  direct 
and  simple  icay  by  a  tool  in  the  hands  of  a  person  expert  in  its  use  — by  a  person,  moreover,  who  was  an 
artist  (i.e.,  a  person  equipped  to  make  sound  judgments  about  lines,  curves,  proportions,  etc.).  The  art- 
ist of  that  moment  when  printing  was  invented  who  furnished  the  fine  written  patterns  for  type  was 
(luckily  for  printing)  working  at  the  top  notch  of  a  fine  tradition  of  calligraphy.  He  was  making  sound 
judgments  about  lines  and  curves  and  proportions  of  letters.  He  had  resurrected  an  ancient  distinguished 
style  of  writing  and  had  added  to  it  the  quality  of  his  own  fine  taste.  His  letters  flowed  from  his  pen  eas- 
ily and  simply,  without  any  tricks  or  affectations  or  extraneous  embellishments.  He  was  simple  enough 
and  artist  enough  to  let  the  implement  itself  (and  his  facile  hand)  shape  the  product.  The  fine  qualities 
of  this  artist's  letter-forms  were  carried  over  into  the  metal  types  and  sealed  up  there  like  butterflies  in 
amber.  It  is  argued,  however,  that  the  ascription  of  beauty  to  type  letters  by  this  route  (i.e.,  via  the 
standards  of  calligraphy)  is  false  logic.  If  the  natural  and  simple  and  tastefully  controlled  use  of  an  im- 
plement produces  a  fine  result,  why  not  start  with  the  process  of  founding  type  instead  of  with  the  pro- 
cess of  writing  with  a  pen?  Why  not  cut  punches  and  strike  matrices  and  cast  type  metal  simply  and 
naturally  and  tastefully,  and  make  types  that  reflect  a  suitable  artistic  use  of  the  process  of  typefound- 
ing?  I  think  that  the  argument  is  esthetically  sound.  There  is  no  common  opinion  about  the  legibility  or 
grace  or  vigor  of  various  type  faces  that  can  be  quoted  as  authority.  One  man's  opinion  is  as  good  as 
another's.  Each  commentator  has  his  own  pet  designs  and  his  own  reasons  for  thinking  them  good.  Some 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design^  Why  do  the  pace-makers  in 
the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively 

(set  7vith  loiuj  dr.<crndi-y.^.  on  9  f>(iu)t  body} 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
.4BCDEFGHIJKLMN0PQRSTUVWXYZfr 

ABCDEFGHIJKLJINOPORSTUVWXYZS: 

1234S67Sf)0   abcdefghijklmnopqrstuvwxyz(S£,.:;'-'?!*t)   1234567S00 
1234567SQ0       abcdefgh!jklmnopqrstuvivxyz( $£,.:;'-'? I   tJ   1234567890 

Mtiiri.r  Iniornuition  :  f^/^.Jl^.  1  ciivitli  nf  lnwcr  ciso  .-ilphaliet.  10.1  juints.  Fii^xircs.  .0  =  5.^;  cmma.  pcriml  ;iiui  tliiii  sp.ice.  .0277. 
Will  run  ill  '1(1  cli.imiel  hi.v.uil.  CkIc  w..i<I.  NITO. 


721 


^II!±I2II11 OLD    STYLE    NO.    7    nin^^oint 


9 

POINT 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ES- 
THETIC DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN  ?  WHY  DO  TH 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it 
so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  practical  design.  And  what  they  see 
in  a  good  type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has  a  "heft" 
and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all 
of  its  parts  made  nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do  — neither 
clumsy  and  thick,  nor  "skinny"  and  weak— no  waste  of  material  and  no  lack  of  strength.  And,  be- 
yond that,  the  chair  may  have  been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes 
and  curves  and  proportions  — it  may  be,  actually,  a  work  of  art.  The  same  thing  holds  for  shapes 
of  letters.  And  your  chair,  or  your  letter  (if  a  true  artist  made  it)  will  have,  besides  its  good  looks, 
a  suitability  to  the  wth  degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That  explains,  in  a  way. 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it 
so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  practical  design.  And  what  they  see 
in  a  good  type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has  a  "heft" 
and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all 
of  its  parts  made  nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do  — neither 
clumsy  and  thick,  nor  "skinny"  and  weak— no  waste  of  material  and  no  lack  of  strength.  And,  be- 
yond that,  the  chair  may  have  been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes 
and  curves  and  proportions— it  may  be,  actually,  a  work  of  art.  The  same  thing  holds  for  shapes 
of  letters.  And  your  chair,  or  your  letter  (if  a  true  artist  made  it)  will  have,  besides  its  good  looks, 
a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That  explains,  in  a  way, 
why  the  experts  rave  over  the  fine  shapes  of  letters;  but  it  fails  to  explain  wherein  the  shapes  are 
fine.  If  you  seek  to  go  further  with  the  inquiry,  theories  will  be  your  only  answer.  Here  is  a  theory 
that  the  proponent  thinks  may  have  sense  in  it :  Fine  type  letters  were,  in  the  first  place,  copies  of 
fine  written  letters.  Fine  written  letters  were  fine  because  they  were  produced  in  the  most  direct 
and  simple  way  by  a  tool  in  the  hands  of  a  person  expert  in  its  use— by  a  person,  moreover,  who 
was  an  artist  (i.e.,  a  person  ecjuipped  to  make  sound  judgments  about  lines,  curves,  proportions, 
etc.).  The  artist  of  that  moment  when  printing  was  invented  who  furnished  the  fine  written  pat- 
terns for  type  was  (luckily  for  printing)  working  at  the  top  notch  of  a  fine  tradition  of  calligra- 
phy. He  was  making  sound  judgments  about  lines  and  curves  and  proportions  of  letters.  He  had 
resurrected  an  ancient  distinguished  style  of  writing  and  had  added  to  it  the  quality  of  his  own 
fine  taste.  His  letters  flowed  from  his  pen  e  .sily  and  simply,  without  any  tricks  or  affectations  or 
extraneous  embellishments.  He  was  simple  enough  and  artist  enough  to  let  the  implement  itself 
(and  his  facile  hand)  shape  the  product.  The  fine  qualities  of  this  artist's  letter-forms  were  car- 
ried over  into  the  metal  types  and  sealed  up  there  like  butterflies  in  amber.  It  is  argued,  however, 
that  the  ascription  of  beauty  to  type  letters  by  this  route  {i.e.,  via  the  standards  of  calligraphy) 
is  false  logic.  If  the  natural  and  simple  and  tastefully  controlled  use  of  an  implement  produces  a 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  prititing  rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it 

(set  li'ith  long  descenders,  on  10  point  body) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ABCDEFGH1JKLMN0PQRSTUVWXYZ& 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

1234567890       abcdefghijklmnopqrstuvwxyz($£,.:  ;'-'?!*t)        1234567890 
1234567890       abcdefghijkhnnopqrstiivwxyz($£,.:;'-'?!  \)       12345678QO 

Matrix  Information:  9A62.  Length  of  lower  case  alphabet,  112  points.  Figures,  .0622;  comma,  period  and  thin  space,  .0311. 
Will  run  in  90  channel  layout.  Lode  word,  NIVU. 


722 


TEN    POINT  TEN    POINT 

Oil)   s  1 1  I  i;    \o.  7   


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS 
ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINT- 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  W 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in 
it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  practical  de- 
sign. And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent  practical  fitness  to 
perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do 
exactly  the  work  that  the  chair  has  to  do  — neither  clumsy  and  thick,  nor  "skinny"  and 
weak  — no  waste  of  material  and  no  lack  of  strength.  And,  beyond  that,  the  chair  may 
have  been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and  curves  and 
proportions  — it  may  be,  actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of  let- 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  W'hat  do  they  see  in 
it?  WHiy  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  practical  de- 
sign. And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent  practical  fitness  to 
perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do 
exactly  the  work  that  the  chair  has  to  do— neither  clumsy  and  thick,  nor  "skinny"  and 
weak  — no  waste  of  material  and  no  lack  of  strength.  And,  beyond  that,  the  chair  may 
have  been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and  curves  and 
proportions  — it  may  be,  actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of  let- 
ters. And  your  chair,  or  your  letter  (if  a  true  artist  made  it)  will  have,  besides  its  good 
looks,  a  suitability  to  the  //th  degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That  ex- 
plains, in  a  way  why  the  experts  rave  over  the  fine  shapes  of  letters;  but  it  fails  to  explain 
wherein  the  shapes  are  fine.  If  you  seek  to  go  further  with  the  incjuiry,  theories  will  be 
your  only  answer.  Here  is  a  theory  that  the  proponent  thinks  may  have  sense  in  it:  Fine 
type  letters  were,  in  the  first  place,  copies  of  fine  written  letters.  Fine  written  letters  were 
fine  because  they  were  produced  in  the  most  direct  and  simple  way  by  a  tool  in  the  hands 
of  a  person  expert  in  its  use— by  a  person,  moreover,  who  was  an  artist  {i.e.,  a  person 
equipped  to  make  sound  judgments  about  lines,  curves,  proportions,  etc.).  The  artist  of 
that  moment  when  printing  was  invented  who  furnished  the  fine  written  patterns  for  tvpe 
was  (luckily  for  printing)  working  at  the  top  notch  of  a  fine  tradition  of  calligraphy.  He 
was  making  sound  judgments  about  lines  and  curves  and  proportions  of  letters.  He  had 
resurrected  an  ancient  distinguished  style  of  writing  and  had  added  to  it  the  Cjuality  of  his 
own  fine  taste.  His  letters  flowed  from  his  pen  easily  and  simply,  without  anv  tricks  or 
Hotv  is  one  to  assess  and  evaluate  a  type  ^ace  in  terms  of  its  esthetic  design?  Wliy  do  the 
pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMXOPQRSTUVIVXVZ& 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

1234567890      abcdefghijklmnopqrstuvwxyz($£,.:  ;'-'?!*!)       1234567890 
1234567SQ0      abcdejghijklwnopqrstinnvxyzi $£,.:;'-'? !  f)       iJj4j6^Sgo 

Matrix  liiim-malum  :  lOAIx-1.  I  .■imlli  of  lower  <-;i-;f  .-ilpliabet.  \22  points.  Figures.  .Ofj'JJ:  comiiia.  puriod  and  thin  space.  .0346. 
Will  run  in  •)()  Llianncl  Ia.v..nt.  (  ...Ir  word.  NIWV. 


10 

roi  .NT 


723 


TEN    &    ONE-HALF   PT. ,_   _       _^  ^         _,  TEN    &    ONE-HALF   PT. 

OLD    STYLE    NO.    7    


IOV2 

POINT 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF 
ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN  ?  W 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  ?  Why  do 
the  pace-malcers  in  the  art  of  printing  rave  over  a  specific  face  of  type  ?  What  do  they 
see  in  it  ?  Why  is  it  so  superlatively  pleasant  to  their  eyes  ?  Good  design  is  always 
practical  design.  And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent  prac- 
tical fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just 
right  for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely 
to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do— neither  clumsy  and 
thick,  nor  "skinny"  and  weak— no  waste  of  material  and  no  lack  of  strength.  And,  be- 
yond that,  the  chair  may  have  been  made  by  a  man  who  worked  out  in  it  his  sense  of 
fine  shapes  and  curves  and  proportions— it  may  be,  actually,  a  work  of  art.  The  same 

(scl  oil  10  pf'int  budy  i 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  ?  Why  do 
the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type  ?  What  do  they 
see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always 
practical  design.  And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent  prac- 
tical fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just 
right  for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely 
to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do  — neither  clumsy  and 
thick,  nor  "skinny"  and  weak— no  waste  of  material  and  no  lack  of  strength.  And,  be- 
yond that,  the  chair  may  have  been  made  by  a  man  who  worked  out  in  it  his  sense  of 
fine  shapes  and  curves  and  proportions  — it  may  be,  actually,  a  work  of  art.  The  same 
thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  letter  (if  a  true  artist  made 
it)  will  have,  besides  its  good  looks,  a  suitability  to  the  «th  degree  to  be  sat  in,  or 
stamped  on  paper  and  read.  That  explains,  in  a  way,  why  the  experts  rave  over  the 
fine  shapes  of  letters  ;  but  it  fails  to  explain  wherein  the  shapes  are  fine.  If  you  seek  to 
go  further  with  the  inquiry,  theories  will  be  your  only  answer.  Here  is  a  theory  that 
the  proponent  thinks  may  have  sense  in  it :  Fine  type  letters  were,  in  the  first  place, 
copies  of  fine  written  letters.  Fine  written  letters  were  fine  because  they  were  pro- 
duced in  the  most  direct  and  simple  way  by  a  tool  in  the  hands  of  a  person  expert  in 
its  use— by  a  person,  moreover,  who  was  an  artist  {i.e.,  a  person  equipped  to  make 
sound  judgments  about  lines,  curves,  proportions,  etc.).  The  artist  of  that  moment 
when  printing  was  invented  who  furnished  the  fine  written  patterns  for  type  was 
(luckily  for  printing)  working  at  the  top  notch  of  a  fine  tradition  of  calligraphy.  He 
was  making  sound  judgments  about  lines  and  curves  and  proportions  of  letters.  He 
had  resurrected  an  ancient  distinguished  style  of  writing  and  had  added  to  it  the 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  ?  Why  do 
the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type  ?  What  do  they 

f set  zcith  long  descenders,  on  II  point  body) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

1234567890      abcdefghijklmnopqrstuvwxyz($£,. :;'-'?  !*t)       1234567890 
1234567890      abcdef ghijklmnopqrstuvwxyz(S£, .:;'-'?  /  \)      1234567890 

Matrix  Injormation  :  lO'^A--  10  point  nligmiient ;  will  cast  on  10  point  body.  Length  of  lower  case  alphabet,  129  points.  Fig- 
ures. .0692;  comma,  period  and  thin  space,  .034G.  Will  run  in  90  channel  layout.  Code  word.  NIXA. 


724 


ELEVEN  POINT  ELEVEN  POINT 

OLD    STYI>i:     \<>.    7    


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF 
ITS  ESTHETIC  DESIGN?  WHY  DO  THE  TACE-MAKERS  IN  THE  ART 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DES  \  \ 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  p<iin  i 
do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is 
always  practical  design.  And  what  they  see  in  a  good  type  design  is,  partly,  its  ex- 
cellent practical  fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of 
its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do- 
neither  clumsy  and  thick,  nor  "skinny"  and  weak—  no  waste  of  material  and  no 
lack  of  strength.  And,  beyond  that,  the  chair  may  have  been  made  by  a  man  who 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is 
always  practical  design.  And  what  they  see  in  a  good  type  design  is,  partly,  its  ex- 
cellent practical  fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of 
its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do  — 
neither  clumsy  and  thick,  nor  "skinny"  and  weak— no  waste  of  material  and  no 
lack  of  strength.  And,  beyond  that,  the  chair  may  have  been  made  by  a  man  who 
worked  out  in  it  his  sense  of  fine  shapes  and  curves  and  proportions— it  may  be, 
actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of  letters.  And  your  chair, 
or  your  letter  ( if  a  true  artist  made  it )  will  have,  besides  its  good  looks,  a  suitabil- 
ity to  the  /;th  degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That  explains,  in 
a  way,  why  the  experts  rave  over  the  fine  shapes  of  letters;  but  it  fails  to  explain 
wherein  the  shapes  are  fine.  If  you  seek  to  go  further  with  the  inquiry,  theories 
will  be  your  only  answer.  Here  is  a  theory  that  the  proponent  thinks  may  have 
sense  in  it:  Fine  type  letters  were,  in  the  first  place,  copies  of  fine  written  letters. 
Fine  written  letters  were  fine  because  they  were  produced  in  the  most  direct  and 
simple  way  by  a  tool  in  the  hands  of  a  person  expert  in  its  use— by  a  person,  more- 
over, who  was  an  artist  (i.e.,  a  person  equipped  to  make  sound  judgments  about 
lines,  curves,  proportions,  etc. ).  The  artist  of  that  moment  when  printing  was  in- 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  W/iy 
do  the  pace-makers  in  the  art  o)  printing  rave  over  a  specific  jace  oj  type?  What 

ABCDEFGHIJKLMNOPQRSTUVWXYZ  & 
A  BCDEFGHU  KLMNOPQRSTU  V 1 1  X 1  'Z& 

ABCDEFGHIJKLMNOPQRSTUVWXVZS: 

1234567890      abcdefghijklmnopqrstuvwxyz(  $£,.:;'-'?  !*t )       1234567890 
1234567890      abcdefghijklmnopqrstnvivxyzf $£,.:;'-'? !  y )       1234567890 

Matrix  ]ni:ninalh>n  :  llA^S,  I  ciiKlli  i.i  Irnsrr  la-c  aliilial.ot .  US  ii.iims.  I'iunics.  .KiA:  iMmiiia.  pcriiwl  aiKl  thin  sjiace.  .038. 
\\  ill  run  in  '«i  ili.innel  lay..u!.  C.ule  word.  NIZK. 


725 


IZIlIlI21Iil OLD    STYLE    NO.    7    twelv^^oint 


POINT 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN 
TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAK- 

1 2         HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETI 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Whydo  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design.  And  what  they  see  in  a  good 
type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its  work.  It 
has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good 
tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to 
do  exactly  the  work  that  the  chair  has  to  do— neither  clumsy  and  thick,  nor 

(solid) 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design.  And  what  they  see  in  a  good 
type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its  work.  It 
has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good 
tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to 
do  exactly  the  work  that  the  chair  has  to  do— neither  clumsy  and  thick,  nor 
"skinny"  and  weak— no  waste  of  material  and  no  lack  of  strength.  And,  be- 
yond that,  the  chair  may  have  been  made  by  a  man  who  worked  out  in  it 
his  sense  of  fine  shapes  and  curves  and  proportions— it  may  be,  actually,  a 
work  of  art.  The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or 
your  letter  (if  a  true  artist  made  it)  will  have,  besides  its  good  looks,  a  suit- 
ability to  the  wth  degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That 
explains,  in  a  way,  why  the  experts  rave  over  the  fine  shapes  of  letters;  but 
it  fails  to  explain  wherein  the  shapes  are  fine.  If  you  seek  to  go  further  with 
the  inquiry,  theories  will  be  your  only  answer.  Here  is  a  theory  that  the  pro- 
ponent thinks  may  have  sense  in  it :  Fine  type  letters  were,  in  the  first  place, 
copies  of  fine  written  letters.  Fine  written  letters  were  fine  because  they 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of 

(set  zi'ith  long  descenders,  on  IS  point  body) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

1234567890  abcdefghijklmnopqrstuvwxyz($£,.:  ;?!'-'*t)  1234567890 
1234567890    abcdefghijklmnopqrstuvwxyz( $£,.:;? !'-'  f)     1234567890 

Matrix  hiformatiini :  1JA190.  Length  of  lower  case  alphabet,  146  points.  Figures,  .083;  cotnma,  period  and  thin  space,  .0415. 
Will  run  in  90  channel  layout.  Code  word,  NOAR. 


726 


FOURTEEN    POINT  _..     .,        _,^^         _  FOIRTEEN    POINT 

Ol  i»    siYi.i;    \o.   7   


HOW  IS  OxNE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE 
IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  I 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  es- 
thetic design  ?  Why  do  the  pace-makers  in  the  art  of  printing  rave 
over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  design  is  always  prac- 
tical design.  And  what  they  see  in  a  good  type  design  is,  partly,  its 
excellent  practical  fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool 


(solid) 


How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  es- 
thetic design?  Why  do  the  pace-makers  in  the  art  of  printing  rave 
over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  design  is  always  prac- 
tical design.  And  what  they  see  in  a  good  type  design  is,  partly,  its 
excellent  practical  fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool 
has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right 
size  to  do  exactly  the  work  that  the  chair  has  to  do— neither 
clumsy  and  thick,  nor  "skinny"  and  weak— no  waste  of  material 
and  no  lack  of  strength.  And,  beyond  that,  the  chair  may  have 
been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes 
and  curves  and  proportions— it  may  be,  actually,  a  work  of  art. 
The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or 
your  letter  (if  a  true  artist  made  it)  will  have,  besides  its  good 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  es- 
thetic design?  Why  do  the  pace-makers  in  the  art  of  printing  rave 


(si-t  with  l,'}lc/  J,scf}lilris.  ..M   15  l^i'illl  hodyl 


ABCDEFGHI JKLMNOPQRSTUVWXYZ  & 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

1234567890  abcdefghijklmnopqrstuvwxyz($£,.)    1234567890 
1234567890  abcdefghijklmnopqrstuvwxyz($£,.)    1234367890 

Matrix  hijorwation     HAl-O-  l.cngtli  ..f  hnvcr  case  aliihabet.  171  points,  l-iuures.  .0968:  comnui.  iicnod  and  tliiu  spate.  .0484. 
Will  UMi  in  '«)  channel  l.iynit.  (  ude  word.  XOHK. 


14 

'  ()  I  N  T 


727 


EIGHTEEN    POINT  -     _    _^       k;  rr  "V  ■    m?      tvt  rk        i^  TWENTY-FOUR    POINT 


POINT 


How  is  one  to  assess  and  evaluate  a  type  face  in 
^^  terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  design 
is  always  practical  design.  And  what  they  see  in  a 


(four  point  leaded) 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyz 

1234567890     ($,.:;'-'?!)     1234567890 

Matrix  Information  :  18A193.  Length  of  lower  case  alphabet.  220  points.  Figures.  .1107;  comma,  perind  and  thin  space,  .0553. 
Will  run  in  90  channel  layout.  Code  word,  NOCI. 


-(      LINOTYPE     > 


How  is  one  to  assess  and  evaluate  a 
^  type  face  in  terms  of  its  esthetic  de- 


POINT 


sign?  Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  fa 
ce  of  type?  What  do  they  see  in  it? 
Why  is  it  so  su  1234567890  ($,.:;'-'?!) 


(joxir  point  leaded) 


ABCDEFGHIJKLMNOPQRSTUV 

abcdefghijklmnopqrstuvwxyz 

Matrix  Information:  24A79.  Length  of  lower  case  alphabet,  298  points.  Figures.  .166;  comma  and  period,  .083:  thin  spaces, 
.0277  and  .083.  Will  run  in  Display  Linotypes,  72  channel  layout;  also  lower  case  except  m  and  w  in  cap  channels  of  90  channel 
magazine.  Code  word.  NODO. 


728 


TWO-LETTER    FONT 


ll«\  \MlNO\     1  «.A\  l^KMOA 


CHARACTER    LIST 


(To  convert  Old  Style  No.  7  fonts  to  Ronaldson,  /«  sizes  from  6  to  14  point,  it  is  mere- 
ly necessary  to  change  these  characters  listed: 


CEFGLST^CE 
CEFGLSTM(n 


3  5  6  7   .    :  9  ^  CE  a 
CEF'GLST^a;^/ 


€.Thcsc  characters  will  be  substituted  for  those  regularly  supplied  'with  Old  Stvle  No.  7 
fonts,  in  which  case  the  face  is  known  as  Ronaldson  No.  7,  or  they  may  be  added  to  the 
regular  Old  Style  No.  7  sets  as  an  extra,  thus  making  available  two  faces  at  practically 
the  cost  of  one.  The  comparison  ^natter  below  shows  the  change: 


10  POINT  OLD  STVLE  NO.  7 

The  most  delightful  feature  of  New 
Haven  is  the  green  with  the  three  old 
churches  which  form  a  beautiful  compo- 
sition, and  curiously  enough  the  Gothic 
Episcopal  Church  was  built  at  the  same 
time  as  its  two  classic  Puritan  brothers 
and  was  designed  by  the  architect  of 
one  of  them.  The  congregation  of  Center 
Church  was  the  oldest  of  the  three,  and 
the  building  was  the  fourth  to  be  erected 
on  the  site  where  in  1640  the  first  settlers 
built  for  their  leader  and  minister,  John 
Davenport,  the  first  meeting  house.  The 


10  POINT  RONALDSON  NO.  7 

The  most  delightful  feature  of  New 
Haven  is  the  green  with  the  three  old 
churches  which  form  a  beautiful  compo- 
sition, and  curiously  enough  the  Gothic 
Episcopal  Church  was  built  at  the  same 
time  as  its  two  classic  Puritan  brothers 
and  was  designed  by  the  architefl  of 
one  of  them.  The  congregation  of  Center 
Church  was  the  oldest  of  the  three,  and 
the  building  was  the  fourth  to  be  ere6led 
on  the  site  where  in  1640  the  first  settlers 
built  for  their  leader  and  minister,  John 
Davenport,  the  first  meeting  house.  The 


Itzvo  point  leaded) 


-(      LINOTYPE    > 


LIST   OF   CHARACTERS    IN    TWO-LETTER    FONTS 
WITH    ITALIC   AND    SMALL   CAPS 

ABCDEFGHIJKLMNOPQRSTUVWXYZ 
A  BCDEFGHIJKLMNOPQRSTUVWXYZ 

ABCDEFGHIJKLMNOPQRSTUVWXYZ 

12345         abcdefghijklmnopqrstuvwxyz         67890 

VBCDE         abcdefghijklmnopqrstuvwxyz         fgrtj 

^.:;?!(|)*''._^(E  ft  &£$...  fiflffffifflaeoe 

,  .s  ;  ?  !  AiQo'  ' MCE  tb  N  £p  L        .  .  .  fi  y  ff  \v  m  k  n 

12345         Z&:()flffiffl$3eoe         67890     ',  I 
12345         V  &  :  (  )  fi  ffi  ffl$  a;oe         67890     ',  '. 

Vs  Va  H  'A  H  H%     X  z  &  ^  (E     (5)  %  1 1  §  n  -  [  J 

ITALIC    LOGOTYPES  OLD    STYLE    FIGURES 

Th  Va  Ve  Vo  Wa  We  Wh  Wo  Ya  Ye  To      1234567890     1234567890 
FA   PA    TA    VA    WA    YA 

Supplied  on  Special  (hdn 


Made  for  all 


ces  fyoiii  6  to  18  point  iuchtsi-'e.  and  will  be 
'.'J-  those  yetfularly  Juinished  zvith  a  font, 
Icrcd,  or  may  be  added  as  an  extra 


729 


long  or  SHORT 
DESCENDERS 


This  is  an  enlargement  of  an  8  point  Old  Style  No.  7  character,  twenty-jour  times  scale. 

It  shows  at  a  glance  what  added  grace  and  proportion  the  long  descender  brings  the  letter. 

In  the  actual  type,  the  area  between  the  dotted  lines  is  just  one  point! 


Imagine  how  queer  people  would  look  if 
their  legs  were  one-third  shorter  than  nor- 
mal. Ridiculous?  Perhaps,  but  not  much 
more  so  than  a  type  face  with  short,  stubby 
descending  characters. 

If  you  think  of  descending  characters  as 
type  legs,  you  will  appreciate  what  just  an 
extra  point  in  length  means.  In  10  point  Old 
Style  No.  7,  for  instance,  the  long  descend- 
ers mean  a  gain  of  one-third !  And  though 
there  are  only  five  characters  — g,  j,  p,  q,  and 
y— what  an  important  distinction  in  page 
appearance  those  long  descenders  bring. 

Prove  it  for  yourself.  Compare  the  show- 
ings of  solid  matter  in  this  folder,  with  the 
same  point  size  showing  long  descending 


characters.  It's  that  extra  little  point  that 
makes  all  the  difference  — that  permits  the 
breakup  of  the  lateral  streaks  of  white  (in 
leaded  matter)  with  the  longer  descenders. 

Long  descending  characters  are  available 
for  all  Linotype  book  faces.  They  should 
be  used  whenever  the  appearance  of  print 
is  considered— wherever  quality  printing  is 
desired. 

Regular  descenders  merely  permit  a  face 
to  be  set  solid— a  practice  few  discriminat- 
ing printers  follow  these  days.  Economi- 
cally they  have  a  place  in  the  composing 
room— esthetically,  seldom.  Equip  all  your 
fonts  with  long  descenders  before  competi- 
tion forces  you  to  do  it. 


730 


w 


Linotype 

OPTICON 


{) 


w 
w 
w 


Opticon,  one  of  the  popular  Linotype 
Legibility  Group  faces,  was  designed 
primarily  for  printing  on  hard  surfaced 
paper,  where  an  agreeable  and  adequate 
color  of  impression  is  desired  without 
ink  spread. 

In  clarity  and  proportion  of  design, 
Opticon  is  essentially  the  same  as  Lino- 
type Excelsior.  Its  letter  shapes  are 
similar,  with  the  stems  and  thick  lines 
weighted  a  trifle  to  provide  slightly  more 
color.  For  newspaper  and  periodical  use 
it  is  all  a  Legibility  Group  face  should  be, 
ranking  exceptionally  high  in  easy  read- 
ing and  visual  tests.  Its  use  on  a  gen- 
eral run  of  standard  commercial  work  — 
folders,  booklets,  legal  and  professional 
printing  — is  increasingly  apparent. 


MERGENTHALER 

LINOTYPE  COMPANY,  BROOKLYN,  N.Y. 

New  York   City,   Chicago,   San  Francisco,   New   Orleans.   Canadian   Linotype, 
Limited,  Toronto,  Canada.  Re-presentatives  iyi  the  Principal  Cities  oj  the  World 


Isplay  and  Riinnino  Heads  Are  Set  in  the  Linotype  Garamond  Bold  No.  3  Family 


COMPARISON  OF  SIZES 

Linotype  Opticon  with  Italic  and  Small  Caps 

(1  Point  (6A-12-))  Lower  case  alpluibet,  109  points.  Figures.  .0553 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pac  1234 
KOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pac  vbcd 

7  Point  (7A1S0)  In  Process  of  Manufacture 

7'-;  Point  with  Italic  (TAAti)  Lower  case  alphabet.  125  points.  Figures.  .0622 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  1234 

.S  Point  l.XA4'"i6)  Lower  case  alphabet,  l.ili  points.  Figures.  .0692 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  desigji?  vbcd 

1(1  point  dOA-l'"^'  Lower  case  alphabel.  144  points.  Figures.  .0761 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  d  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  d  vbcd 

11   Point   (11AL'4I    In  Process  of  iManufadiire 

LIST    OF    CHARACTERS   AVAILABLE    IN    TWO-LETTER    FONTS 

WITH    ITALIC    AND    SMALL    CAPS 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 

abcdefghijklmnopqrstuvwxyz 

ahcdefghijklmnopqrstuvwxyz 
1234567890ceoefiflffffiffl$ £,.:;-"?!-!—        .  .  .()@tb% 
1 234567  8903eoefiflffffiffl$  £,■:;-"?'■ •  ■  ■         ()@Jh7o 

*  t  lU  §  [  ]  1/8  ¥4  %  1/2  %  3/4  7/8 
ftnilVa  V4  %  V2  %  %  % 


LINOTYPE- 


Linotype  Opticon  with  Bold  Face  No.  2 

S'A  Point  (5!/;A60)  Lower  case  alphabet.  102  points.  Figures.  .0484 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-mak  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-mak  1234 

6  Point   (r.A420)  Lower  case  alphabet.  1(19  pciints.  Figures.  .0553 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pac  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pac  1234 

7  I'.iint  (7AlCi6)  Lower  case  alphabet.  119  poinls.  Figures.  .059 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  1334 

7K-   Point    (7'..Ain)  Liiwer  case  alpliabet.   125iioinls.   Frgurcs.  .0622 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  1234 

8  Point    l,KA4S2)  Lower  case  alplial,et.   I  ?(l  points.   Figures.  .0592 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  1234 

9  Point   (9A162I  Lower  case  alphabet.  l,14i)oints    Figures.  .0692 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  1234 

10  Point   (1()A470)  Lower  case  alphabet.  144  points.  Figures.  .0761 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  d  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  d  1234 

11  Point  (11A1381  In  Process  of  Maiiuf.icture 

12  Point  (12A474)  I^ower  case  .alphabet.  160  points.  Figures.  .083 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  est  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  est  1234 

LIST   OF    CHARACTERS   AVAILABLE    IN    TWO-LETTER    FONTS 
WITH    ROMAN    AND    BOLD 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 

abcdefghijklmnopqrstuvwxyz 

abcdefghijklmnopqrstuvwxyz 
1234567890asoefiflflfffiffl$  £,.:;-"?!-! —        .  .  .  ()@Tb% 
1234567890£eoefiflffffiffl$ £,.:;-"?!-! — .  .  .         ()@re% 

*niT§[]  1/8  1/4%  1/2%%% 

*  t* ^§  [  P/^  14  %  1/2  %  %  Vs 


730  b 


LINOTYPE  OPTICON  w'lth  IIALIC 


6  Point 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN 
WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  OF  T 


How  IS  ONE  to  assess  and  evaluate  a  type  lace  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  de- 
sign is  always  practical  design.  And  what  they 
see  in  a  good  type  design  is,  partly,  its  excellent 
practical  fitness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right 
for  its  size,  as  any  good  tool  has.  Your  good  chair 
has  all  of  its  parts  made  nicely  to  the  right  size 
to  do  exactly  the  work  that  the  chair  has  to 
do,  neither  clumsy  and  thick,  nor  "skinny" 
and  weak,  no  waste  of  material  and  no  lack  of 
strength.  And.  beyond  that,  the  chair  may  have 
been  made  by  a  man  who  worked  out  in  it  his 
sense  of  fine  shapes  and  curves  and  proportions: 
it  may  be.  actually,  a  work  of  art.  The  same 
thing  holds  for  shapes  of  letters.  And  your  chair. 
or  your  letter  (if  a  true  artist  made  it)  will  have, 
besides  its  good  looks,  a  suitability  to  the  ?!th 
degree  to  be  sat  in.  or  stamped  on  paper  and 
How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design'?  Why  do  the  pace- 
makers in  the  art  of  printing  rai^e  oi^er  a  specific 


fjit  ,'l  <  Uiutirl 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 

ABCDEFGHIJKLMNOPQRSTVVWXYZ&TECE 

abcdefghijklmnopqrstuvwxyz&;ece 

abcdefghijklmnopqrstuvwxyzseoefiflffffiffl  12345G7890  $£..:;-■'?!-, — 

abcdefghijkhnnopqrstuvwxyza^oefiflffffiffl  1234567890  $£..::-"?! . 

/  8      4     '  8      **      "      '^ 


How  IS  ONE  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  de- 
sign is  always  practical  design  And  what  they 
see  in  a  good  type  design  is.  partly,  its  excellent 
practical  fitness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right 
for  its  size,  as  any  good  tool  has.  Your  good  chair 
has  all  of  its  parts  made  nicely  to  the  right  size 
to  do  exactly  the  work  that  the  chair  has  to 
do.  neither  cluinsy  and  thick,  nor  "skinny" 
and  weak,  no  waste  of  material  and  no  lack  of 
strength.  And.  beyond  that,  the  chair  may  have 
been  made  by  a  man  who  worked  out  in  it  his 
sense  of  fine  shapes  and  curves  and  proportions  : 
it  may  be.  actually,  a  work  of  art.  The  same 
thing  holds  for  shapes  of  letters.  And  your  chair, 
or  your  letter  (if  a  true  artist  made  it  I  will  have, 
besides  its  good  looks,  a  suitability  to  the  nth 
degree  to  be  sat  in.  or  stamped  on  paper  and 
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7'  2  Po/nt 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTH 
DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER 


How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  type?  What  do 
they  see  in  it?  Why  is  it  so  superlatively 
pleasant  to  their  eyes?  GoocZ  design  is  al- 
umys  practical  design.  And  what  they  see 
in  a  good  type  design  is.  partly,  its  excel- 
lent practical  fitness  to  perform  its  work. 
It  has  a  "heft"  and  balance  in  all  of  its 
parts  ,iust  right  for  its  size,  as  any  good  tool 
has.  Your  good  chair  has  all  of  its  parts 
made  nicely  to  the  right  size  to  do  exactly 
the  work  that  the  chair  has  to  do,  neither 
clumsy  and  thick,  nor  "skinny"  and  weak, 
no  waste  of  material  and  no  lack  of  strength. 
And,  beyond  that,  the  chair  may  have  been 
How  is  one  to  assess  mid  evaluate  a  type 
face  in  terms  of  its  esthetic  desigyi?  Why 
do  the  pace-7nakers  in  the  art  of  printing 

(.U'lill) 


How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  type?  What  do 
they  see  in  it?  Why  is  it  so  superlatively 
pleasant  to  their  eyes?  Good  design  is  al- 
ways practical  desigji.  And  what  they  see 
in  a  good  type  design  is,  partly,  its  excel- 
lent practical  fitness  to  perform  its  work. 
It  has  a  "heft"  and  balance  in  all  of  its 
parts  just  right  for  its  size,  as  any  good  tool 
has.  Your  good  chair  has  all  of  its  parts 
made  nicely  to  the  right  size  to  do  exactly 
the  work  that  the  chair  has  to  do,  neither 
clumsy  and  thick,  nor  "skinny"  and  weak, 
no  waste  of  material  and  no  lack  of  strength. 
And,  beyond  that,  the  chair  may  have  been 
made  by  a  man  who  worked  out  in  it  his 

(  ,.|i.-  /•'■ml   l,;l,l,;l  ' 


I  iil  ../   C/Kira./.-iA   ill    /7('.. -/.,■//. -I    V...II/ 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&JECE 

abcdefghiiklmnopqrstuvwxvzaeoefiflfTffiflfi  1234567890  $£  ,.:;-"?  !- 

ahcdefghijklmnopqrstmnL\vyz3ecefiflUfliffl  1234567890  $.£  ..::-■'?!-, 


()(u)m 


.Mali 
dim  II 


/inc.  I'l.ik 


:.AI'..  I.nucr  ,. 


.ilpli.ilict .   USpmiil^,    l"imiic' 


■}»  •/■i  '/S 


Gpt. 


IVi  pt. 


730  c 


8/7/. 


LINOIA^PE  OPTICON  tvith  ITALIC 

8  Point 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ES 
DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OV 
Ho\v  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do 
they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always 
practical  design.  And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent  prac- 
tical fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right 
for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to 
the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and 
thick,  nor  "skinny"  and  weak,  no  waste  of  material  and  no  lack  of  strength.  And,  be- 
yond that,  the  chair  may  have  been  made  by  a  man  who  worked  out  in  it  his  sense  of 
fine  shapes  and  curves  and  proportions:  it  may  be,  actually,  a  work  of  art.  The  same 
thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  letter  (if  a  true  artist  made 
it)  will  have,  besides  its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or 
stamped  on  paper  and  read.  That  explains,  in  a  way,  why  the  experts  rave  over  the 
fine  shapes  of  letters:  but  it  fails  to  explain  wherein  the  shapes  are  fine.  If  you  seek  to 
go  further  with  the  inquiry,  theories  will  be  your  only  answer.  Here  is  a  theory  that 
the  proponent  thinks  may  have  sense  in  it:  Fine  type  letters  were,  in  the  first  place, 
copies  of  fine  written  letters.  Fine  written  letters  were  fine  because  they  were  pro- 
duced in  the  most  direct  and  simple  way  by  a  tool  in  the  hands  of  a  person  expert  in 
its  use,  by  a  person,  moreover,  who  was  an  artist,  i.e.,  a  person  equipped  to  make 
sound  judgments  about  lines,  curves,  proportions,  etc.  The  artist  of  that  moment 
when  printing  was  invented  who  furnished  the  fine  written  patterns  for  type  was 
(luckily  for  printing)  working  at  the  top  notch  of  a  fine  tradition  of  calligraphy.  He 
was  making  sound  judgments  about  lines  and  curves  and  proportions  of  letters.  He 
had  resurrected  an  ancient  distinguished  style  of  writing  and  had  added  to  it  the 
quality  of  his  own  fine  taste.  His  letters  flowed  from  his  pen  easily  and  simply,  with- 
out any  tricks  or  affectations  or  extraneous  embellishments.  He  was  simple  enough 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do 
they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always 

(Iwo  point  Iradedl 

How  IS  ONE  to  assess  and  evaluate  a  type  How  is  one  to  assess  and  evaluate  a  type 

face  in  terms  of  its  esthetic  design?  Why  face  in  terms  of  its  esthetic  design?  Why 

do  the  pace-makers  in  the  art  of  printing  do  the  pace-makers  in  the  art  of  printing 

rave  over  a  specific  face  of  type?  What  do  j.^^^  q^^j.  ^  specific  face  of  type?  What  do 

they  see  in  it  ?  Why  is  it  so  superlat wely  ^^       ^^^  .^  .      ^^     .    •         superlatively 

pleasant  to  their  eyes?  Good  design  is  al-  ,   *'        .  .     -i.    ■             n  ^       i  j     •       ■      i 

ways  practical  desigii.  And  what  they  see  Pleasant  to  their  eyes?  Good  design  is  al- 

in  a  good  type  design  is,  partly,  its  excel-  ways  practical  design.  And  what  they  see 

lent  practical  fitness  to  perform  its  work.  in  a  good  type  design  is,  partly,  its  excel- 

It  has  a  "heft"  and  balance  in  all  of  its  lent  practical  fitness  to  perform  its  work, 

parts  just  right  for  its  size,  as  any  good  It  has  a  "heft"  and  balance  in  all  of  its 

tool  has.  Your  good  chair  has  all  of  its  parts  just  right  for  its  size,  as  any  good 

parts  made  nicely  to  the  right  size  to  do  ^ool  has.  Your  good  chair  has  all  of  its 

exactly  the  work  that  the  chair  has  to  do,  ^^  ^^^^  ^-^^^     ^^  ^^^  ^.^^^  ^.       ^    ^^ 

neither  clumsy  and  thick,  nor     skinny  ^       ^^     4.1,            1   +u   +  tu      u   ■    u      a.    ^ 

and  weak,  no  waste  of  material  and  no  exactly  the  work  that  the  chair  has  to  do. 


.'^o/id) 


(one  point  leaded  I 


ABCDEFGHIJKLMNOPQRSTUVWXYZ&/ECE 
ABCDEFGH1JKLMNOPQRSTUVWXYZ&7ECE 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 

abcdefghijklmnopqrstuvwxyzaecEfiflffffiffl  1234567890  $£  ,.:;-"?!-|—        .  .  .()@Ib 
abcdefghi'jklmnopqrstuvwxyzseoefiflffffiffl  1234567890  $£,.:;-"?! .  .  .         ()@t^ 

*  1 1 H  §  [  ]  %  ¥8  1/4  %  1/2  %  %  Ys . 
ftTI§[]  %  Va  V4  %  V2  %  %  % 

Matrix  Injormation:  8A496.  Lower  case  alphabet.  130  paints.  Figures,  .0692;  comma,  period  and  thin  space.  .0346.  Runs  in  90 
channel  magazine.  Code  word,  ZIBAN. 


730  d 


LINOTYPE  OPTICON  iidh  ITALIC 

10  Point 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS 
OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  AR 
How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design.  And  what  they  see  in  a  good 
type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its  work.  It 
has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good 
tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to 
do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor 
"skinny"  and  weak,  no  waste  of  material  and  no  lack  of  strength.  And,  be- 
yond that,  the  chair  may  have  been  made  by  a  man  who  worked  out  in  it  his 
sense  of  fine  shapes  and  curves  and  proportions :  it  may  be,  actually,  a  work 
of  art.  The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  let- 
ter ( if  a  true  artist  made  it )  will  have,  besides  its  good  looks,  a  suitability  to 
the  nth  degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That  explains,  in 
a  way,  why  the  experts  rave  over  the  fine  shapes  of  letters;  but  it  fails  to  ex- 
plain wherein  the  shapes  are  fine.  If  you  seek  to  go  further  with  the  inquiry, 
theories  will  be  your  only  answer.  Here  is  a  theory  that  the  proponent  thinks 
may  have  sense  in  it :  Fine  type  letters  were,  in  the  first  place,  copies  of  fine 
written  letters.  Fine  written  letters  were  fine  because  they  were  produced  in 
the  most  direct  and  simple  way  by  a  tool  in  the  hands  of  a  person  expert  in  its 
use,  by  a  person,  moreover,  who  was  an  artist,  i.e.,  a  person  equipped  to  make 
sound  judgments  about  lines,  curves,  proportions,  etc.  The  artist  of  that  mo- 
ment when  printing  was  invented  who  furnished  the  fine  written  patterns 
for  type  was  ( luckily  for  printing )  working  at  the  top  notch  of  a  fine  tradition 
of  calligraphy.  He  was  making  sound  judgments  about  lines  and  curves  and 
proportions  of  letters.  He  had  resurrected  an  ancient  distinguished  style  of 
writing  and  had  added  to  it  the  quality  of  his  own  fine  taste.  His  letters  flowed 
from  his  pen  easily  and  simply,  without  any  tricks  or  affectations  or  extrane- 
ous embellishments.  He  was  simple  enough  and  artist  enough  to  let  the  im- 
plement itself  (  and  his  facile  hand  )  shape  the  product.  The  fine  qualities  of 
this  artist's  letter-forms  were  carried  over  into  the  metal  types  and  sealed  up 
How  is  one  to  assess  and  evaluate  a  type  jace  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rar>e  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it  so  supei-latively  pleasant  to  their 

dtvi'  poiiil  liiidcd) 
List  .)/  Clnmulri  (  in    I  z^;'-l(ll,r  F,nit 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&MCE 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 

abcdefghijklmnopqrstuvwxyzaeoefiflffffiffl  1234567890  $  £  , 
ahcdefghijklmnopqrstuvwxyzseoefiflffjfifji  1234567890  $  £  , 

Mutiii    h\l<nm,iliini      1()A-I')S    l.nwcv  .  .isi-  .ilpli.ili.-t .    I  14  pcmils.    I'lKines.   .11761  ;  i..iiiin.i.   i..-ii..rl  anil  tliiii 
,-li.Min,-l   ni.iK.-i/liic.   Cide  w..r(I.  ZlC'l'I. 


'7!_| 

'?f 


730  e 


5V2  pt.    — 


LINOTYPE  OPTICON  with  BOLD  FACE  No.  2 


5V2  Point 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WH 
DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  OF  TYPE?  WHAT 


How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace-mak- 
ers in  the  art  of  printing  rave  over  a  specific  face 
of  type?  What  do  they  see  in  it?  Why  is  it  so  super- 
latively pleasant  to  their  eyes?  Good  design  is  al- 
ways practical  design.  And  what  they  see  in  a  good 
type  design  is.  partly,  its  excellent  practical  fitness 
to  perform  its  work.  It  has  a  "heft"  and  balance  in 
all  of  its  parts  just  right  for  its  size,  as  any  good 
tool  has.  Your  good  chair  has  all  of  its  parts  made 
nicely  to  the  right  size  to  do  exactly  the  work  that 
the  chair  has  to  do.  neither  clumsy  and  thick,  nor 
"skinny"  and  weak,  no  waste  of  material  and  no 
lack  of  strength.  And,  be.vond  that,  the  chair  may 
have  been  made  by  a  man  who  worked  out  in  it  his 
sense  of  fine  shapes  and  curves  and  proportions:  it 
may  be,  actually,  a  work  of  art.  The  same  thing 
holds  for  shapes  of  letters.  And  your  chair,  or  your 
letter  (if  a  true  artist  made  iti  will  have,  besides  its 
good  looks,  a  suitability  to  the  nth  degree  to  be  sat 
in,  or  stamped  on  paper  and  read.  That  explains,  in 
a  way,  why  the  experts  rave  over  the  fine  shapes  of 
letters;  but  it  fails  to  explain  wherein  the  shapes 
are  fine.  If  you  seek  to  go  further  with  the  inquiry, 
theories  will  be  your  only  answer.  Here  is  a  theory 
that  the  proponent  thinks  may  have  sense  in  it: 
Fine  type  letters  were,  in  the  first  place,  copies  of 
How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace-mak- 
ers in  the  art  of  printing  rave  over  a  specific  face 

iSulid) 


How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace-mak- 
ers in  the  art  of  printing  rave  over  a  specific  face 
of  type?  What  do  they  see  in  it?  Why  is  it  so  super- 
latively pleasant  to  their  eyes?  Good  design  is  al- 
ways practical  design.  And  what  they  see  in  a  good 
type  design  is,  partly,  its  excellent  practical  fitness 
to  perform  its  work.  It  has  a  "heft"  and  balance  in 
all  of  its  parts  just  right  for  its  size,  as  any  good 
tool  has.  Your  good  chair  has  all  of  its  parts  made 
nicely  to  the  right  size  to  do  exactly  the  work  that 
the  chair  has  to  do,  neither  clumsy  and  thick,  nor 
"skinny"  and  weak,  no  waste  of  material  and  no 
lack  of  strength.  And.  beyond  that,  the  chair  may 
have  been  made  by  a  man  who  worked  out  in  it  his 
sense  of  fine  shapes  and  curves  and  proportions:  it 
may  be,  actually,  a  work  of  art.  The  same  thing 
holds  for  shapes  of  letters.  And  your  chair,  or  your 
letter  lif  a  true  artist  made  iti  will  have,  besides  its 
good  looks,  a  suitability  to  the  nth  degree  to  be  sat 
in,  or  stamped  on  paper  and  read.  That  explains,  in 
a  way.  why  the  experts  rave  over  the  fine  shapes  of 
letters;  but  it  fails  to  explain  wherein  the  shapes 
are  fine.  If  you  seek  to  go  further  with  the  inquiry, 
theories  will  be  your  only  answer.  Here  is  a  theory 
that   the   proponent   thinks   may   have   sense   in   it: 


tiiiH-  point  U-aJcd  I 

List  of  Characters  in  Tzvo-Lctter  Font 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&-^CE 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&^a: 

abcdefghijklmnopqrstuvwxyzaeoefiflffffiffl  1234567890  $£  ,.:;-"?!-|—        .  .  .  Ofiirb*tt11§[l%  VaVi%V2^/B%V& 
abcdefghijklmnopqrstuvwxyzaeoefiflfffflffl  13345U7890  §£,.:;-"?!-!—.  ,  .         ()@n)*t*1I§[]%  ^&  »4 %  V2 ?&  =!i % 

Matrix  Injormation :  S'iA'i".  Lower  case  alphabet.  102  points.  Figures,  .04.S4;  coiiiin.i,  perinH  ;nid  thin  space,  ,0277.  Runs  in  90 


channel  1 


ne.  Code  w..rd,  ZIBAB. 


Gpt. 


— (»  c LINOTYPE "'>V' 

6  Point 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN 
WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  OF  T 


How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  t.ype?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  de- 
sign is  always  practical  design.  And  what  they 
see  in  a  good  type  design  Is,  partly,  its  excellent 
practical  fitness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  -  ight 
for  its  size,  as  any  good  tool  has.  Your  good  chair 
has  all  of  its  parts  made  nicely  to  the  right  size 
to  do  exactly  the  work  that  the  chair  has  to 
do,  neither  clumsy  and  thick,  nor  "skinny" 
and  weak,  no  waste  of  material  and  no  lack  of 
strength.  And.  beyond  that,  the  chair  may  have 
been  made  by  a  man  who  worked  out  in  it  his 
sense  of  fine  shapes  and  curves  and  proportions: 
it  may  be,  actually,  a  work  of  art.  The  same 
thing  holds  for  shapes  of  letters.  And  your  chair, 
or  your  letter  (if  a  true  artist  made  it)  will  have, 
besides  its  good  looks,  a  suitability  to  the  nth 
degree  to  be  sat  in,  or  stamped  on  paper  and 
read.  That  explains,  in  a  way,  why  the  experts 
rave  over  the  fine  shapes  of  letters;  but  it  fails  to 
How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
(solid) 


How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  de- 
sign is  always  practical  design.  And  what  they 
see  in  a  good  type  design  is,  partly,  its  excellent 
practical  fitness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right 
for  its  size,  as  any  good  tool  has.  Your  good  chair 
has  all  of  its  parts  made  nicely  to  the  right  size 
to  do  exactly  the  work  that  the  chair  has  to 
do,  neither  clumsy  and  thick,  nor  "skinny" 
and  weak,  no  waste  of  material  and  no  lack  of 
strength.  And,  beyond  that,  the  chair  may  have 
been  :nade  by  a  man  who  worked  out  in  it  his 
sense  of  fine  shapes  and  curves  and  proportions: 
it  may  be,  actually,  a  work  of  art.  The  same 
thing  holds  for  shapes  of  letters.  And  your  chair, 
or  your  letter  (if  a  true  artist  made  it)  will  have, 
besides  its  good  looks,  a  suitability  to  the  nth 
degree  to  be  sat  in,  or  stamped  on  paper  and 
read.  That  explains,  in  a  way,  why  the  experts 
rave  over  the  fine  shapes  of  letters;  but  it  fails  to 

(one  point  Icadrdl 


Two-Lt 


List  of  Cliaract 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&i^CE 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&^(E 

abcdefghiiklmnopqrstuvwxyzBEoefiflffffiffl  1234567890  $  £  ,.:;-"?!-[ — 
abcdefghijklmnopqrstiivwxyza-oefiflfftnffl  1234567890  $£,.:;-"?!-! — . 


.  ..()@It.ni:lI§[]% 
0(§)lfe*t*1§[]% 


'8    /4    /B  '2    /8  "4   /8 


Matrix  Injornwtion  :  6A420.  Lower  c;ise  alphab 
iliaTiiiel  maga/ine.  ("ode  word.  ZIBAH. 


:;t.  lOy  points.  Figures,  .0SS3;  cnninia,  period  and  thin  space.  .0277.  Runs 


730  f 


LINOTYPE  OPTICON  with  BOLD  FACE  No.  2 


7  Point 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETI 
DESIGN-.'  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SP 


How  is  one  to  assess  and  evaluate  a  type  face 
in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over 
a  specific  face  of  type?  What  do  they  see  in 
it?  Why  is  it  so  superlatively  pleasant  to 
their  eyes?  Good  design  is  ahvays  practical 
design.  And  what  they  see  in  a  good  type  de- 
sign is,  partly,  its  excellent  practical  fitness 
to  perform  its  work.  It  has  a  "heff'and  bal- 
ance in  all  of  its  parts  just  right  for  its  size, 
as  any  good  tool  has.  Your  good  chair  has  all 
of  its  parts  made  nicely  to  the  right  size  to 
do  exactly  the  work  that  the  chair  has  to  do, 
neither  clumsy  and  thick,  nor  "skinny"' and 
weak,  no  waste  of  material  and  no  lack  of 
strength.  And.  beyond  that,  the  chair  may 
have  been  made  by  a  man  who  worked  out 
in  it  his  sense  of  fine  shapes  and  curves  and 
How  is  one  to  assess  and  evaluate  a  type  face 
in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over 


How  is  one  to  assess  and  evaluate  a  type  face 
in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over 
a  specific  face  of  type?  What  do  they  see  in 
it?  Why  is  it  so  superlatively  pleasant  to 
their  eyes?  Good  design  is  always  practical 
design.  And  what  they  see  in  a  good  type  de- 
sign is,  partly,  its  excellent  practical  fitness 
to  perform  its  work.  It  has  a  "heff'and  bal- 
ance in  all  of  its  parts  just  riglit  for  its  size, 
as  any  good  tool  has.  Your  good  chair  has  all 
of  its  parts  made  nicely  to  the  right  size  to 
do  exactly  the  work  that  tlie  chair  has  to  do, 
neither  clumsy  and  thick,  nor  "skinny  "and 
weak,  no  waste  of  material  and  no  lack  of 
strength.  And,  beyond  that,  the  chair  may 
have  been  made  by  a  man  who  worked  out 
in  it  his  sense  of  fine  shapes  and  curves  and 

[onr  point  lL-ijJrd> 


lAst  ,'i  Llu}iacli-is  in   T:vo- !.,■! tri   l-->,,l 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 
ABCDEFGHIJKLIVINOPQRSTUVWXYZ&/E(E 

abcdefghijklmnopqrstuvwxyzaecefiflffffiffl  1234.567890  $£..:;-"?!- — 
abcdefghijklmnopqrstuvvvxyzaeoefiflfffflffl  1234567890  $£  ,.:;-"?!-  — .  .  . 

Va  1/4  %  V2  %  %  % 
Vh  %  %  Vi  %  Yi  % 


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v:!:1I§r]% 
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Mat! 
Lh.iin 


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lode  word,  ZENKA. 


unima.   period  and  thin  space.   .0.295.   Runs  in  90 


1  pt. 


,^^^w^ ~^>K      LINOTYPE    >-^>-~^^'-~'^>'~- ^ ^ -Jl/j  pt. 


71/2  Point 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTH 
DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER 


How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  type?  What  do 
they  see  in  it?  Why  is  it  so  superlatively 
pleasant  to  their  eyes?  Good  design  is  al- 
ways practical  design.  And  what  they  see 
in  a  good  type  design  is,  partly,  its  excel- 
lent practical  fitness  to  perform  its  work. 
It  has  a  "heft"  and  balance  in  all  of  its 
parts  just  right  for  its  size,  as  any  good  tool 
has.  Your  good  chair  has  all  of  its  parts 
made  nicely  to  the  riglit  size  to  do  exactly 
the  work  that  the  chair  has  to  do,  neither 
clumsy  and  thick,  nor  "skinny"  and  weak, 
no  waste  of  material  and  no  lack  of  strength. 
And,  beyond  that,  the  chair  may  have  been 
made  by  a  man  who  worked  out  in  it  his 
How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing 


How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  type?  What  do 
they  see  in  it?  Why  is  it  so  superlatively 
pleasant  to  their  eyes?  Good  design  is  al- 
ways practical  design.  And  what  they  see 
in  a  good  type  design  is,  partly,  its  excel- 
lent practical  fitness  to  perform  its  work. 
It  has  a  "'heft'"  and  balance  in  all  of  its 
parts  just  right  for  its  size,  as  any  good  tool 
has.  Your  good  chair  has  all  of  its  parts 

ton,-  f'int  IraJi-il  I 

How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  type?  What  do 
they  see  in  it?  Why  is  it  so  superlatively 
pleasant  to  their  eyes?  Good  des     g  j  P  q  y 


nih  l.nuj  dr 
Tu'o-Lcttcr  Flint 


List  of  Ch„, 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&/ECE 

abcdefghijklmnopqrstuvwxvzacoefiflffffiffl  1234567890  $£  ,.::-"?! 

abcdefghijklmnoptirstuvwxyzaeoefiflffffiffl  1234.567890  S £,.:;-"?! . 

*t1:1[8  [  ]  %  ''"  ''■'  ^'" '  ■'  ■'■'"  ^-' '''" 


h.ili   ti.nit  h,;lv 


()(7?ib 

()@Ib 


*t:i:^Sl  1%  i/8i4%'/2'>s=H7s 


iuiti<m  :  y'iAHl-  Lower  .■: 
•ine    C.de  word  Zlvin  T 


iilphalift. 


Its.    l'"igures.   .I16JJ;  i 


730  g 


spt. 


LINOTYPE  OPTICON  ivith  BOLD  FACE  No.  2 


8  Point 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ES 
DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OV 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do 
they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always 
practical  design.  And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent  prac- 
tical fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right 
for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to 
the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and 
thick,  nor  "skinny"  and  weak,  no  waste  of  material  and  no  lack  of  strength.  And,  be- 
yond that,  the  chair  may  have  been  made  by  a  man  who  worked  out  in  it  his  sense  of 
fine  shapes  and  curves  and  proportions:  it  may  be,  actually,  a  work  of  art.  The  same 
thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  letter  (if  a  true  artist  made 
it)  will  have,  besides  its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in  or 
stamped  on  paper  and  read.  That  explains,  in  a  way,  why  the  experts  rave  over  the 
fine  shapes  of  letters;  but  it  fails  to  explain  wherein  the  shapes  are  fine.  If  you  seek  to 
go  further  with  the  inquiry,  theories  will  be  your  only  answer.  Here  is  a  theory  that 
the  proponent  thinks  may  have  sense  in  it:  Fine  type  letters  were,  in  the  first  place, 
copies  of  fine  written  letters.  Fine  written  letters  were  fine  because  they  were  pro- 
duced in  the  most  direct  and  simple  way  by  a  tool  in  the  hands  of  a  person  expert  in 
its  use,  by  a  person,  moreover,  who  was  an  artist,  i.e.,  a  person  equipped  to  inake 
sound  judgments  about  lines,  curves,  proportions,  etc.  The  artist  of  that  moment 
when  printing  was  invented  who  furnished  the  fine  written  patterns  for  type  was 
(luckily  for  printing)  working  at  the  top  notch  of  a  fine  tradition  of  calligraphy.  He 
was  making  sound  judgments  about  lines  and  curves  and  proportions  of  letters.  He 
had  resurrected  an  ancient  distinguished  style  of  writing  and  had  added  to  it  the 
quality  of  his  own  fine  taste.  His  letters  flowed  from  his  pen  easily  and  simply,  with- 
out any  tricks  or  affectations  or  extraneous  embellishments.  He  was  simple  enough 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do 
they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always 

(t7iui  puiiil  leaded  I 

How  is  one  to  assess  and  evaluate  a  type  How  is  one  to  assess  and  evaluate  a  type 

face  in  terms  of  its  esthetic  design?  Why  face  in  terms  of  its  esthetic  design?  Why 

do  the  pace-makers  in  the  art  of  printing  do  the  pace-makers  in  the  art  of  printing 

rave  over  a  specific  face  of  type?  What  do  j-ave  over  a  specific  face  of  type?  What  do 

Sfnl  To  Ikei^e'je^^  %Toi7e%T;^il  "-y  see  in  it?  Why  is  it  so  superlatively 

ways  practical  design.  And  what  they  see  Pleasant  to  their  eyes?  Good  design  is  al- 

in  a  good  type  design  is,  partly,  its  excel-  ways  practical  design.  And  what  they  see 

lent  practical  fitness  to  perform  its  work.  in  a  good  type  design  is,  partly,  its  excel- 

It  has  a  "heft"  and  balance  in  all  of  its  lent  practical  fitness  to  perform  its  w^ork. 

parts  just  right  for  its  size,  as  any  good  It  has  a  "heft"  and  balance  in  all  of  its 

tool  has.  Your  good  chair  has  all  of  its  parts  just  right  for  its  size,  as  any  good 

parts  made  nicely  to  the  right  size  to  do  tool  has.  Your  good  chair  has  all  of  its 
exactly  the  work  that  the  chair  has  to  do  ^^  ^^^^  ^.^^^    ^    ^j^    ^-^^    ■      ^    ^ 

neither  clumsy  and  thick,  nor     skinny  ii    ii_  i   ii,  4.  ^i.      1     •    ,_      .     j 

and  weak,  no  waste  of  material  and  no  exactly  the  work  that  the  chair  has  to  do, 

lack  of  strength.  And,  beyond  that,  the  neither  clumsy  and  thick,  nor     skinny 

(solidj  (o,u-f.nnt  leaded! 

List  of  Characters  in  Two-Letter  Font 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&i^CE 

abcdefghijklmnopqrstuvwxyzaeoefiflffffifill234567890$£,.:;-"?!-| —        .  .  .()@m 
abcdefghijklmnopqrstuvwxyzajoefiflffffifn  1234567890  $£,.:;-"?!-|—.  .  .        ()@lft 

*  1 1 H  §  [  ]  %    1/8  1/4  %  1/2  %  %  % 

* t*ii§ [  ]  %  %  Vi  %  1/2  y»  %  78 

Matrix  Infortnatinn  :  8A482.  Lower  case  alphabet.  130  pmiits.  Figures.  .0592;  comma,  period  and  tliiii  space.  .0346.  Runs  in  90 
cliaiinel  magazine.  Code  word,  ZERZA. 


730  h 


LINOTYPE  OPTICON  ii'ith  BOLD  FACE  No.  2 

9  Point  —-»-•"■«— 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  IT 
ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINT 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is 
always  practical  design.  And  what  they  see  in  a  good  type  design  is,  partly,  its  ex- 
cellent practical  fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its 
parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts 
made  nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither 
clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of  material  and  no  lack  of 
strength.  And,  beyond  that,  the  chair  may  have  been  made  by  a  man  who  worked 
out  in  it  his  sense  of  fine  shapes  and  curves  and  proportions:  it  may  be,  actually,  a 
work  of  art.  The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  let- 
ter (if  a  true  artist  made  it)  will  have,  besides  its  good  looks,  a  suitability  to  the 
nth  degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That  explains,  in  a  way,  why 
the  experts  rave  over  the  fine  shapes  of  letters;  but  it  fails  to  explain  wherein  the 
shapes  are  fine.  If  you  seek  to. go  further  with  the  inquiry,  theories  will  be  your 
only  answer.  Here  is  a  theory  that  the  proponent  thinks  may  have  sense  in  it:  Fine 
type  letters  were,  in  the  first  place,  copies  of  fine  written  letters.  Fine  written  let- 
ters were  fine  because  they  were  produced  in  the  most  direct  and  simple  way  by  a 
tool  in  the  hands  of  a  person  expert  in  its  use,  by  a  person,  moreover,  who  was  an 
artist,  i.e.,  a  person  equipped  to  make  sound  judgments  about  lines,  curves,  pro- 
portions, etc.  The  artist  of  that  moment  when  printing  was  invented  who  fur- 
nished the  fine  written  patterns  for  type  was  (luckily  for  printing)  working  at  the 
top  notch  of  a  fine  tradition  of  calligraphy.  He  was  making  sound  judgments  about 
lines  and  curves  and  proportions  of  letters.  He  had  resurrected  an  ancient  distin- 
guished style  of  writing  and  had  added  to  it  the  quality  of  his  own  fine  taste.  His 
letters  flowed  from  his  pen  easily  and  simply,  without  any  tricks  or  affectations  or 
extraneous  embellishments.  He  was  simple  enough  and  artist  enough  to  let  the 
implement  itself  (and  his  facile  hand)  shape  the  product.  The  fine  qualities  of  this 
artist's  letter-forms  weie  carried  over  into  the  metal  types  and  sealed  up  there, 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is 
always  practical  design.  And  what  they  see  in  a  good  type  design  is,  partly,  its  ex- 
cellent practical  fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its 
parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all     g  j  p  q  y 

{set  -until  Unit/  dr.uciidci  s  mi  ten  foiiit  Iwjyl 
List  of  Cliiiriulri  i  III   'lu'o^I_,-ttci-  Flint 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&^OE 

abcdefghijklmnopqrstuvwxyzffioefiflffffifll  1234567890  $£,.:;-"?!-!—        .  .  .() 
abcdefghijklmnopqrstuvwxyzseoefiflffffiffl  1234567890  $£,.:;-"?!-  — .  .  .        () 

^'Tb*tt1!§[j%   1/8U-I8l25834"8 
@lft=!=ttTf§l  1%    Vs  1/43/8  1/0  5/„3/4  7/s 

Matrix  Itilormatioii  :  yAl'>-.  I.mvfl  lase  alphiilift.  1,(4  p.nTits.  Fikhio..  .IXrtJ;  tciniiiia.  perioil  anil  thin  space.  .n.Mr,  Knns  in  90 
channel  tnaKa/ine.  C.ile  w,.iil.  ZIKEV. 


730 


10  pL 


LINOTYPE  OPTICON  witb  BOLD  FACE  No.  2 


10  Point 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS 
OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  AR 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design.  And  what  they  see  in  a  good 
type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its  work.  It 
has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good 
tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to 
do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor 
"skinny"  and  weak,  no  waste  of  material  and  no  lack  of  strength.  And,  be- 
yond that,  the  chair  may  have  been  made  by  a  man  who  worked  out  in  it  his 
sense  of  fine  shapes  and  curves  and  proportions:  it  may  be,  actually,  a  work 
of  art.  The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  let- 
ter (if  a  true  artist  made  it)  will  have,  besides  its  good  looks,  a  suitability  to 
the  nth  degree  to  be  sat  in,  or  stamped  on  paper*  and  read.  That  explains,  in 
a  way,  why  the  experts  rave  over  the  fine  shapes  of  letters;  but  it  fails  to  ex- 
plain wherein  the  shapes  are  fine.  If  you  seek  to  go  further  with  the  inquiry, 
theories  will  be  your  only  answer.  Here  is  a  theory  that  the  proponent  thinks 
may  have  sense  in  it:  Fine  type  letters  were,  in  the  first  place,  copies  of  fine 
written  letters.  Fine  written  letters  were  fine  because  they  were  produced  in 
the  most  direct  and  simple  way  by  a  tool  in  the  hands  of  a  person  expert  in  its 
use,  by  a  person,  moreover,  who  was  an  artist,  i.e.,  a  person  equipped  to  make 
sound  judgments  about  lines,  curves,  proportions,  etc.  The  artist  of  that  mo- 
ment when  printing  was  invented  who  furnished  the  fine  written  patterns 
for  type  was  (luckily  for  printing)  working  at  the  top  notch  of  a  fine  tradition 
of  calligraphy.  He  was  making  sound  judgments  about  lines  and  curves  and 
proportions  of  letters.  He  had  resurrected  an  ancient  distinguished  style  of 
writing  and  had  added  to  it  the  quality  of  his  own  fine  taste.  His  letters  flowed 
from  his  pen  easily  and  simply,  w'thout  any  tricks  or  affectations  or  extrane- 
ous embellishments.  He  was  simple  enough  and  artist  enough  to  let  the  in- 
strument itself  (and  his  facile  hand)  shape  the  product.  The  fine  qualities  of 
this  artist's  letter-forms  were  carried  over  into  the  metal  types  and  sealed  up 
there,  like  butterflies  in  amber.  It  is  argued,  however,  that  the  ascription  of 
How  is  one  to  assess  and  evalviate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their 

(ttoii  poirt  leaded) 
List  nl  Charnctcrs  ii,   Tivn-J.rttcr  Font 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&^(E 

abcdefghijklmnopqrstuvwxyzaeoeflflffffiffl  1234567890  $£,.:;-"?!-!— 
abcdefghijklninopqrstuvwxyzsecfififlffffiffl  1234567890  $<£,.:;-"?!- — 

.  .  .()fa'lB*ti1T§[l%  1/8 14%  1/2 5/8 3.4 7/8 

■     .  .  .  ()@tt>*tt11§[]%   Vs  V4  %  1/2  %  3/4  7/s 

Matrix  Information :  inA47n.  I,ower  case  alphabet.  144  points,  Figures.  .0761:  comma,  period  and  thin  space.  .038.  Runs  in  90 
chaiiTiel  magazine.  Code  word.  ZICUB. 


730  j 


LINOTYPE  OPTICON  iv'ith  BOLD  FACE  No.  2 

1 2  Point 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TE 
OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  T 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic 
design?  Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a 
specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superla- 
tively pleasant  to  their  eyes?  Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent  prac- 
tical fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of 
its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair  has 
all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly  the  work  that 
the  chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and  weak, 
no  waste  of  material  and  no  lack  of  strength.  And,  beyond  that,  the 
chair  may  have  been  made  by  a  man  who  worked  out  in  it  his  sense 
of  fine  shapes  and  curves  and  proportions:  it  may  be,  actually,  a  work 
of  art.  The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or 
your  letter  (if  a  true  artist  made  it)  will  have,  besides  its  good  looks,  a 
suitability  to  the  nth  degree  to  be  sat  in,  or  stamped  on  paper  and  read. 
That  explains,  in  a  way,  why  the  experts  rave  over  the  fine  shapes  of 
letters;  but  it  fails  to  explain  wherein  the  shapes  are  fine.  If  you  seek 
to  go  further  with  the  inquiry,  theories  will  be  your  only  answer.  Here 
is  a  theory  that  the  proponent  thinks  may  have  sense  in  it:  Fine  type 
letters  were,  in  the  first  place,  copies  of  fine  written  letters.  Fine  writ- 
ten letters  were  fine  because  they  were  produced  in  the  most  direct 
and  simple  way  by  a  tool  in  the  hands  of  a  person  expert  in  its  use,  by 
a  person,  moreover,  who  was  an  artist,  i.e.,  a  person  equipped  to  make 
sound  judgments  about  lines,  curves,  proportions,  etc.  The  artist  of 
that  moment  when  printing  was  invented  who  furnished  the  fine 
written  patterns  for  type  was  (luckily  for  printing)  working  at  the 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic 
design?  Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a 
specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superla- 

<tw  f"'"t  l,-ad,-,l  I 

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abcdef ghijklmnopqrstuvwxyza?oefiflff ffiffl  1 234567890  $£,.:;-"?!-  — 

. .  A)(fi)wnwy/o  y8V4%v2%%% 

.  .  .        ()@tb*t:::1l§n%  Vh  V4  %  V2  %  %  7/^ 

Matrix  htliyinuiti.ni  IJA-47  t  I  ..n,i  (,.-(■  .ili.li.il)ft .  IdO  ]>..iiils.  iMgnres.  .DM;  inimna.  pcniicl  .ind  lliiii  sii.ur.  JMIS.  Hniis  in  ')n 
.li.mnpl  iii.iK.i/i.Kv  l',„l(.  wiini.  Zl(   I'll. 


12  l>t. 


730  k 


Sales  (000  omtd.)  High  Low 

1  Alu   7s   '33   106       106 

37  A  G&E  6s      100 1/2  100 

21  AP&L6S 

100         99% 

2  A  RoUM  6s 

103       103 

specimens  of 

20  A  Seat  6s 
6  A  WWk  6s 

991/2     991,2 
9738     97% 

3  Ar.    Cp  6s 

103       10238 

10  AppaPr  5s 

943'8     943'8 

OPTICON 

16  As  G&E  6s 
ISA  SH  61/2S 

102       101% 
971/2     971/2 

5  A  Ftinc  8s 

19          19 

9  BverBd  8s 

99         981/4 

5  BlTCan  5s 

1001/4  100 1/4 

^ 

1  Buf  G  E  5s   102       102 

.Jn 

lCNREp7s   111%  111% 

.  ^fr\ 

25  C  P&Lt  5s     99         99 

M  Hi  A 

29  Cts  Svc  6s 

933^     931/8 

€\mm 

1     do  7s  D 
2CGB51/2SE 

112       112 
106%  106% 

f-LINQTYPE— ) 

flow 

6ContCor6s     98 '/a     98 1/2 
1  Cub  Tel  7s   1101/2  1101/2 

eCudahy  5s     96 1/2     96 1/2 

6Det  CG  6s   107 1/2  107 1/2 

10  Duk  PP  6s   1021/2  1021/2 

Extreme  Right:  Classified  column  set   in  S'A 

1  E  Ter  6s 

1001/2  1001/2 

point  Opticon  with  Bold  Face  No.  2. 

1  E  Refrg  6s 

1031/2  1031 2 

6FkRb  51/2S 

97 1/2     97 1/2 

Right:  Stock  Market  Tables,  in  6  point  Opti- 

10 FP&L  5s  n 

931/2     931/2 

con  with  Bold  Face  No.  2.  Figures.  .0553. 

2  GalSO   7s 

91         90 

110  Gat  Pw  5s 

94         93 1/2 

Below:  Catalogue  page  set  in  7!-^  and  5Va  Opti- 

145   do  6s 

991/2     991/2 

con   with    Bold   Face   No.    2;  display,    12  point 

1  Gen  Pet  6s 

1011/2  101 1/, 

Poster  Bodoni  Italic.  Rule:  3  point  Wave  Rule 

IGT&R51/2S     961/2     961/2 

Matrix  Slide  No.  161. 

3  Gr  Tr  6I2S   109'/2  IO81/2 

1  GulfOil  5s   105       105 

26  1  Oil  61/2S    .    99         99 

1  Ind  Ltn  6s     99         99 

5  Ind  Pw  6s     97 1/2     97 1/2 

BARCO     ARTISTS'    MATERIALS 


Sketch  Blocks 

ROCHELLE  Bound  Sketch  Blocks.  Rochelle's  Draw- 
ing Papers  in  three  finishes,  viz:  Hot  Pressed,  or 
smooth;  Cold  Pressed,  with  slight  grain;  and  Extra 
Rough  for  Water-Color  Painting.  The  paper  is  so  com- 
pressed as  to  form  a  solid  block.  By  running  a  knife 
around  the  bound  edges,  each  sheet  can  be  easily  de- 
tached. Twenty-four  sheets  to  block. 

Size  Each 

9x12  inches $1.50 

10x14  inches 2.10 

12x18  inches 3.00 

15x21  inches 4.50 


ROCHELLE  Extra  Heavy  Bound  Sketch  Blocks,  Made 
of  Rochelle's  finest  Empire  Drawing  Papers,  extra 
heavy  (140  pounds).  Hot  Pressed,  Cold  Pressed,  and 
Rough.  Twelve  sheets  to  block. 


No. 

Size 

Kach 

373 

Six  5i 

inches. . 

.  $  .50 

4Jx  6 

inches. . 

.       .55 

5x7 

inches.  . 

.       .65 

6x9 

inches. . 

.       .95 

7  xlO 

inches.  . 

.     1.20 

No.     Size  Each 

373a  5x  7  inches $  .85 

7x10  inches 1.40 


Size  Each 

10x14  inches $2.25 

15x21  inches 3.75 


MERCURY  Bound  Sketch  Blocks.  Made  of  Mercury 
Paper,  an  excellent  smooth  paper  for  pen  and  ink  and 
fine  pencil  sketches.  Each  block  contains  twenty-four 
sheets. 

No.     Size  Each        Size  Each 

374     6x  9  inches $  .90 

9x12  inches 1.25 


10x14  inches $1.50 

12x18  inches 2.00 


SUPREME  Bound  Sketch  Blocks.  Made  of  fine  quality 
Drawing  Paper.  Backed  with  Binders'  Board.  Twenty- 
four  sheets  to  block. 


No. 

Size 

Each 

Size 

Each 

375 

5x  7  inches .  .  . 

.  .  $  .25 

9x12  inches.  .  . 

.  .  $  .45 

6x  9  inches.  .  . 

.       .35 

10x14  inches.  .  . 

.       .50 

7x10  inches.  .  . 

.40 

14x20  inches.  .  . 

..       .85 

HARKNESS  Wire-Bound  Sketch  Blocks.  Made  of 
Harkness  Artists'  Boards  in  medium  and  smooth 
grades.  Size,  10x14  inches.  Wire  binding  on  the  short 
side.  Excellent  for  ink  and  water  color. 


184 


Last 
106 

1001/2 

99% 
103 

99 1/2 

97% 
102?8 

943'8 
101% 

97  1/2 

19 

981/4 
1001/4 
102 
1 1 1 3,4 

99 

93% 
112 

1065'8 

84 
981,2 

1101,2 

961 '2 
107  i,i 
1021^ 
1001, '2 
103  i,i 

97 1'2 

93i,'2 

90 

94 

98 1,2 

101  1'2 

96  V2 
109 1,2 
105 

99 
99 

97  1/2 


chge. 


+  1'4 
+  ' 


1    95 

+ 

V7 

'117 

— 

1 

89 

_ 



931 '2 

+ 

1/7 

99 

I/-? 

102i,'2 

+ 

1/2 

1001, '2 

98i'2 

— 

1/7 

941 '2 

94i'2 



1001/2 

— 

1/2 

111 

— 

V? 

99 

95i'2 



94 1'2 



102 

_ 



116 

+ 

2 

98i'2 

+ 

V7 

98i,i 

31/7 

102 1 '2 

_ 

107 

+ 

1/7 

99 

+ 

V7 

97  li 

DS 

Net 

Last 

c 

tige. 

231,2 

— 

2 

231,4 

— 

Va 

172 

-f26 

99 1'2 

— 

1/2 

92 

+ 

V2 

27 

1/8 

95 
961 2 

345'8 

+ 

% 

;  951/2 

V7 

.   56 

+ 

1 

;   97 

V7 

.   98 
:   93i'2 



■   931, '2 



1   97i'2 

+ 

V7 

.   88 

+ 

'.'7 

:  98i,'2 

.   97  V, 

— 

1/7 

;  9oi,'2 

aooi,i 

— 

1/7 

1 100  1,2 

— 

•  991,-2 

— 

1/7 

1 1 02 1,'2 

— 

IV7 

'   97i,'2 

— 

1,'2 

;    96i,'2 

— 

V? 

■    931, '2 

— 

1/2 

11001 '2 
.    92 

;  151, '2 



V7 

■      151'2 

— 

',2 

1    91 

+ 

1 

.    96 



i    921, '2 

— 

1/7 

..000. 

1  shares. 

,'GS 

led) 

IWeek 

Per 

1  1,  1931  cent. 

12,797 

— 

-24.2 

.0.000 

-23.1 

;4,319 

— 

-19.9 

.8,170 

— 

-28.5 

;3.400 

-45.2 

.0.700 

— 

-33.9 

10,100 

-41.1 

.4,303 

— 

20.4 

:2,216 

— 

-23.0 

.5,800 

-32.0 

18,148 

— 

-25.3 

.5,893 

-31.4 

evening,     lauiietin.     acnooi     iviecnanicai 
Optics.  Morgan  St.,  Brooklyn.  Main  4-4121. 


HOTELS    CALL    FOR    TRAINED    MEN— 
Good  pay;  learn  at  home.  Write  Lords' 
Hotel   Training   Schools.   Desk   149.   Wash- 
ington, D.  C. 


SALES  HELP  WANTED — MALE 


AUTOMOBILE  SALESMEN,  experienced; 
commission,   salary   when   qualified.   De 
Soto,  274  Flatbush  Ave.  Extension. 


BELT    SALESMAN,    popular-priced    line; 
must    have    following    $1.37  Vi    to    $4.75 
dresses;    salary    and    commission.    L    542 
Times. 


BOOK  SALESMEN. 
The   new    Merriam-Webster   Dictionary 
in   special    3- volume    edition    now   ready; 
leads  to  qualified  salesmen;  liberal  com- 
missions. 

The  University  Society,  468  4th  Ave. 

BOOK-MAGAZINE  SALESMEN 
Brand-new  deal  starting;  magazine  book 
premium;    easily    average    large    weekly 
commissions.  W.  C.  Pickering,  154  Nassau 
St. 


COAL  SALESMEN,  experienced  retail 
trade;  salary,  commission.  Barney.  406 
East  31st  St. 


COAL  and  Fuel  Oil  Salesmen — Must  have 
following;  leads  furnished  with  adver- 
tising; commission.  690  7th  Ave.,  Room  62. 


CHRISTMAS    CARDS— Sell    big    personal 
line;  big  commissions;  7  sensational  as- 
sortments.   Wallace    Warren,    225    Fourth 
Ave.,  Dept.  T.M. 


COMMERCIAL  REFRIGERATION  SALES- 
MEN; experience  helpful  but  not  essen- 
tial; free  training;  leads  furnished;  liberal 
commissions.  H.  B.  Tower,  9-11  A.  M..  11th 
floor.   Walter  Forge,  315  4th  Ave.,    (24th). 


GENERAL  ELECTRIC  MAJOR  APPLI- 
ANCE salesman;  big  commissions;  an 
excellent  opportunity  for  willing  worker; 
assistance  given.  AUdobon  9-8947.  10-11:30 
A.  M.,  Mr.  Gurney. 


LIGHTNING  ROD  salesman  wanted,  ex- 
perienced; leads  furnished  for  West- 
chester. Fairfield  and  Putnam  Counties; 
Must  have  car;  commission,  drawing  when 
qualified.  X  2138  Times  Annex. 


SALESMAN,  experienced,  to  solicit  for  a 
metal    stamping    concern;    commission 
basis.  M  86  Times. 


SALESMEN,   experienced    in   selling   AD- 
VERTISING      COUNTER       DISPLAYS; 
drawing    account    against    commission.    L 
463  Times. 


SALESMEN,  with  car,  exclusive  line  Neon 
clocks,    installment;    reference;    salary, 
commission.    Sommer   Clock,   491    Broad- 
way. 


SALESMAN,  experienced  automobile  oil, 
garage,  gas  stations;  commission.  X  2232 
Times  Annex. 


SALESMEN,  HIGH  TYPE 

PEAK-SEASON  EARNINGS  NOW! 

Federal  and  State  tax  laws  COMPEL  all 
businesses  to  keep  records  and  file  re- 
turns, otherwise  "penalties  severe."  This 
has  created  an  overwhelming  demand  for 
our  simplified  records  system,  which  mer- 
chants gratefully  welcome.  Our  men  are 
earning  exceptionally  large  commissions. 
Ambitious,  intelligent  men,  preferably 
with  "intangibles"  experience:  Get  into 
this  field  NOW,  while  it  is  still  uncrowded. 
We  show  you  how  to  get  more-than-aver- 
age  sales  per  calls.  Leads.  Call  Bill  Mark- 
wood.  Hotel  New  Yorker.  MEdallion  8-078. 
Mon.  till  9  P.  M.,  Tues.  till  6.  Out-of-town 
men  write. 


SALESMEN, 
high-class,  30-45.  represent  foremost 
English-Jewish  publication,  circula- 
tion; city  or  travel.  See  me  before  11, 
I  will  show  you  how  to  earn  large 
weekly  commission  checks.  Schultz, 
122  East  42d.  Suite  1102A. 


SALESMAN,  established  following  among 
industrial  plants,  experienced  selling 
pipe,  valves,  fittings;  salary  and  commis- 
sion. Advise  full  details  of  past  experi- 
ence. Replies  will  be  held  confidential.  X 
2161  Times  Annex. 


SALESMEN  calling  on  paint  and  hard- 
ware dealers,  also  industrial  plants. 
Long  Island,  Westchester,  New  Jersey  and 
New  York  City,  to  sell  nationally  known 
spray  guns  and  air  compressors;  commis- 
sion. X  2050  Times  Annex. 


SALESMAN,   must   have    car;   salary   and 
commission;  must  be  experienced  to  sell 
metropolitan  district  rayon  slips  and  pa- 
jamas. X  2260  Times  Annex, 


^,*,*,*,*,*,*,*,*^*,*,*,*,*,*,*,*,*,***^*,*^',*f*,'',*^*f*,*y^*f*^^**f**'',*^***^**^^-'*'^**'^**-'f*f^^'**r^f-'y>^'**f*>^ 


wt 


''''<^ 


Linotype 

ORIGIIVAL 
OLD  STYLE 


w 


ith  ITALIC  iind  small  caps 


Original  Old  Style  was  once  described  by  a  printer  enthusiast 
as  "the  best  book  face  ever  cut  for  the  machine."  Not  all  printers 
will  aj^Tee  with  this  statement,  but  there  are  tew  who  will  den^^  the 
excellence  of  the  face  tor  book  and  mapa/ine  work.  Based  fm  an 
English  old  face  of  the  later  Caslon  period.  Original  Old  Style 
was  cut  by  Linotype  two  decades  apo  and  derivetl  particularh  from 
a  font  issued  by  A.  D.  Farmer  &  Son  foundry.  New  York.  It  is  a 
type  which  pives  deiinite  character  to  work  in  which  it  is  emplo\ed, 
^■et  never  obtrudes  that  character  at  the  expense  of  le^nbility. 

The  slif:^ht  stress  in  weip:ht  of  the  Capitals  ( thoup;h  authentic  in 
design)  brinp;s  an  objectionable  decree  of  contrast  to  some  discrim- 
inating typographers  and  printers.  To  eliminate  this  contrast,  the 
Capitals  of  Linotype  Caslon  Old  Face  (not  Caslon)  ma}  be 
substituted  tor  those  regularh  turnished.  The  effect  ot  the  Cast  (in 
Old  Face  capitals  may  be  noted  in  composition  of  this  paragraph. 

Linotype  Origina  l  Old  Style  is  available  in  fi\e  useful  sizes, 
from  6  to  14  point  inclusive,  each  dispkucd  in  following  pages. 
Where  larger  sizes  are  needed  in  combination,  Caslon  Old  Face 
maA'  be  used  with  excellent  effect. 


LINOTYPE 


Mergenthaler  Linotype  Compaii) .  Brookl)  n.  \e\\  York 

NFAV    YORK    CLKY,    CUK  AC;().    SAN     IKANCLSCO.    N  KW    OKI. LANS      CAN'ADLW     I,INOr>  I'K. 
LIMLrEO,    rOKON  I().    KKrKKSKN  lA  riVKS    IN     r  f  I K    rKIXCII'AI     tniKS    ()!■      IIIK    WOHll) 


UKIGII^rAL 
OLI»  STYLE 

Co///  pur/son 
of  Sizes 


6  Point  (6A86)  Knwer  case  alphabet.  89  pniius.  Figures,  .0415 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  W 
How  is  one  to  assess  and  evalu:.ic  a  type  face  in  terms  of  its  esthetic  design*?  Why  do  the  pace-makers  in  the  art  of 
printing  rave  over  a  specific  face  of  type*?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  ey  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?   Why  do  the  pace-makers  in  the  vbcd 


8  I'l.illt  (RAI.'iS) 


Lnwer  case  alphaljet,   110  points.   Figures.  .055J 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHE 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  '?  Why  do  the  pace-mak- 
ers in  the  art  of  printing  rave  over  a  specilic  face  of  type  "?  What  do  they  see  in  it'?  Why  is  it  so  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  vbcd 


10  Point   (lOA't) 


Lower  case  alphaljet.  124  points.  Figures.  .0692 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design '?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type  %  What  do  they  se  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  W  vbcd 


12  Point   (I2A6> 


I.ower  case  alphabet.  144  points.  Figures.  .084 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TE 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design"? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  1234 
HO  Jl '  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  vbcd 


14  Point  (14A2I 


ver. case  alphabet.  172  points.  Figures.  .0968 


H(1W  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FA 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  es- 
thetic design '?  Why  do  the  pace-makers  in  the  art  of  printin  1 234 
HOIJ^  IS  ONE  to  assess  and  evaluate  a  tyfje  face  in  terms  o  vbcd 


-(°  LINOTYPE '>> 


LIST   OF   CHARACTERS    IN    TWO-LETTER    FONTS 
WITH    ITALIC    AND    SMALL   CAPS 

ABCDEFGHIJKLMNOPQRSTIIVWXYZ 

ABCDEFGHIJKLMNOPQRSTUJIJ'XVZ 

ABCDEFGHIJKLMNOPORSTUVWXYZ 

12345        abcdefghijklmnopqrstuvwxyz        67890 
viscDE        abcdefcihi]klmnopqrstuvzvxyz        fgrtj 

•M  (  I  )  *  "  -  —  .E  CE  ft)  &  £  $  .  .  . 
.<?  /  A  I  o  o  '  ' M  QL  ft)  ^  iv  \. 

1234>        Z  .V  :  (    )  flffiffl$ffice 
12345       v&  :  (  )  fl  ffi  fjf  $  a  ce 

X  Z  &  .-E  CE        @ 

OLD    STYLE    FIGURES 
1234^67890 


AVxHy 


H  H  H 


fiflff  ffifflffice 

.  .   fi  Y  ff  W  M  K  H 

67890 
67S90 

%  t  $  §  li  -  [  ] 


/  2 


4567890 


'I'hcse  characlers  may  he  siitistiliited  fnr  those  remilarly  furnished 
willi   a   f'lnt,   if  so  ordered,   or   they   may   I)e   added   as   an   extra. 


732 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  EACE  IN  TEKMS  OF  ITS  ESTHETIC  DESIGN*?  W 
DO   IHE  I'ACE-MAKERS  IN    I  HE  AR  1    OE  PHIN  MNC;  RAVE  OVER  A  SEECIMC  FACE  OF  TYEEV  \V 


How  IS  uM  to  assess  and  t-valuatc  a  tyi>f  tatr  in  terms  of 
its  esthetic  design?  Wliy  do  tlie  pace-makers  in  the  art  of 
printing  rave  over  a  specihc  face  of  typeV  What  do  tliey 
see  in  it  V  Why  is  it  so  superlatively  pleasant  to  their 
eyes'?  Good  deugn  is  always  pi  actual  dt'sitjn.  And  what 
they  see  in  a  good  type  design  is,  partly,  its  excellent  prac- 
tical titness  to  perform  its  work.  It  has  a  "heft"  and  bal- 
ance in  all  of  its  parts  just  right  for  its  size,  as  any  good 
tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely 
to  the  right  size  to  do  exactly  the  work  that  the  chair  lias 
to  do,  neither  clumsy  and  thick,  nur  "skinny"  and  weak, 
no  waste  of  material  and  no  lack  of  strength.  And,  beyond 
that,  the  chair  may  have  been  made  by  a  man  who  worked 
out  in  it  his  sense  of  tme  sliapes  and  curves  and  propor- 
tions: it  may  be,  actually,  a  work  of  art.  The  same  thing 
holds  for  shapes  of  letters.  And  your  chair,  or  your  letter 
(if  a  true  artist  made  it)  will  have,  besides  its  good  looks, 
a  suitability  to  the  7it\\  degree  to  be  sat  in,  or  stamped  on 
paper  and  read.  That  explains,  in  a  way,  why  the  experts 
rave  over  the  ^nt  shapes  of  letters  ;  but  it  fails  to  explain 
wherein  the  shapes  are  hne.  If  you  seek  to  go  further  witli 
the  inquiry,  theories  will  be  your  only  answer.  Here  is  a 
theory  that  the  proponent  thinks  may  have  sense  in  it  : 
Fine  type  letters  were,  in  the  first  place,  copies  of  tine 
written  letters.  Fine  written  letters  were  tine  because  tliey 
were  produced  in  the  most  direct  and  simple  way  by  a  tool 
in  the  hands  of  a  person  expert  in  its  use,  by  a  person, 
moreover,  who  was  an  artist,  i.e.,  a  person  equipped  to 
make  sound  judgments  about  lines,  curves,  proportions, 
etc.    The    artist    of    that    moment    when    printing    was    in- 

Hozu  IS  one  to  assess  and  evaluate  a  type  face  in  terms  of 
its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of 
printing  rave  over  a  specific  face  of  tvpe?   Jf'hat  do  they 

(solid) 


How  IS  0M-.  to  assess  and  evaluate  a  tyi)e  face  in  terms  of 
Its  esthetic  design?  Why  do  tlie  pace-makers  in  the  art  of 
printing  rave  over  a  specific  face  of  type?  What  do  they 
see  in  it?  Wliy  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  alzuays  practical  design.  And  what 
they  see  in  a  good  type  design  is,  partly,  its  excellent  prac- 
tical titness  to  perform  its  work.  It  has  a  "heft"  and  bal- 
ance in  all  of  its  parts  just  right  fur  its  size,  as  any  good 
tool  has.  Your  good  chair  has  all  of  its  parts  ma<ie  nicely 
to  the  right  si/e  to  do  exactly  the  work  that  the  chair  has 
to  do,  neither  clumsy  and  tliick,  nor  "skinny"  and  weak, 
no  waste  tjf  material  and  no  lack  of  strength.  And.  beycuid 
that,  the  chair  may  have  been  made  by  a  man  who  worked 
out  in  it  his  sense  of  fine  shapes  and  curves  and  propor- 
tions ;  it  may  be,  actually,  a  work  of  art.  The  same  thing 
holds  for  shapes  of  letters.  And  your  chair,  or  your  letter 
(if  a  true  artist  made  it)  will  have,  besides  its  good  looks, 
a  suitability  to  the  /nh  degree  to  be  sat  in,  or  stamped  on 
paper  and  read.  That  explains,  in  a  way,  why  tlie  experts 
rave  over  the  tine  shapes  of  letters  ;  but  it  fails  to  explain 
wherein  the  shapes  are  fine.  If  you  seek  to  go  further  with 
tlie  inquiry,  theories  will  be  your  only  answer.  Here  is  a 
theory  that  the  proponent  thinks  may  have  sense  in  it: 
]■  ine  type  letters  were,  in  the  first  place,  copies  of  fine 
written  letters.  Fine  written  letters  were  fine  because  they 
were  produced  in  the  most  direct  and  simple  way  by  a  tool 
in  the  hands  of  a  person  expert  in  its  use,  by  a  person, 
moreover,  who  was  an  artist,  i .e .,  a  person  equipped  to 
make    sound   judgments    about    lines,    curves,    proportions, 

(.'»(/■   t^uiut    !c,nlr,/> 


O  It  1 1;  1  \  A  L 

oi.i> 

.si^  i.i: 

<► 

6  c.' 

(S  pn/nt 

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^1    IM.-IKM- 


AB  CDEF  G  H IJ  KIMN  OPQRSTV  I'll'  X  Y  Z& 

AJUl»i:tGHlJKl  MN()PQRSTU\W\YZ& 

abcdefgliijklmnopqrstuvwxyzfiflffffiffl  1234S67890  ($£..: ;'-' V  !  *tt!!ll  I  1214567X90 
abcdefghijkhnnopqrstuvwxyzfiflffffiffl  /234567S9II  ("jf ,..•;■-'<?  /  )  /2340rSi)O 

l,A»'.    lower  case  .•ilpllaliel.   XV  ii..iiits.    l-imires.   .041  S:  toinina.  i>eri.jcl  ami  thin   s],; 
(le  u.inl.  NUUF. 


-(^■t  LINOTYPE y 


HOW  IS  ONE  K)  ASSESS  AND  E\  ALl  ATE  A  1  Y  PE  EACE  IX   lEKMS  OE  US  ES  IHE 
DESIGN?  WHY  DO  I  HE  EACE-MAKEKS  IN  THE  ART  OF  PRINTING  RAVE  0\  ER 


How  IS  ONE  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design'?  Wiiy  d"  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  type "?  What  do  they  see  in  it "?  Why  is  it 
so  superlatively  pleasant  to  their  eyes'?  Goi'd 
dfsigii  IS  always  practical  design.  And  what  they 
see  in  a  good  type  design  is,  partly,  its  excellent 
practical  titness  tn  [jertorm  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right 
for  its  size,  as  any  good  tool  has.  Your  good 
chair  has  all  of  its  parts  made  nicely  to  the  right 
size  to  do  exactly  the  work  that  the  chair  has 
to  do,  neither  clumsy  and  thick,  nor  "skinny" 
and  weak,  no  waste  of  material  and  no  lack  of 
strength.  And,  beyond  that,  the  chair  may  have 
been  made  by  a  man  who  worked  out  in  it  his 
sense  of  fine  shapes  and  curves  and  proportions  : 
it  may  be,  actually,  a  work  of  art.  Fhe  same 
thing    holds    for    shapes    of    letters.    And    your 

lli'zv  IS  line  til  aar.ss  and  evaluate  a  tvpe  face  in 
terms  cf  its  esthetic  design?  Jl'/iy  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 


How  IS  ONE  to  assess  and  evaluate  a  type  face  in 
terms  ot  its  esthetic  design'?  Why  do  the  pace- 
makers in  the  art  ot  printing  rave  over  a  specific 
face  of  type '?  What  do  they  see  in  it '?  Why  is  it 
so  superlatively  pleasant  to  their  eyes'?  Good 
design  is  alzvaxs  practical  design.  And  what  they 
see  in  a  good  type  design  is,  partly,  its  excellent 
practical  titness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right 
for  its  size,  as  any  good  tool  has.  Your  good 
chair  has  all  ot  its  parts  made  nicely  to  the  right 
size  to  do  exactly  the  work  that  the  cliair  has 
to  do,  neither  clumsy  and  thick,  nor  "skinny" 
and  weak,  no  waste  ot  material  and  no  lack  of 
strength.  And.  beyond  that,  the  chair  may  have 
been  made  by  a  man  who  worked  out  in  it  his 
sense  ot  tine  shapes  and  curves  and  proportions  : 
it  may  be,  actually,  a  work  of  art.  The  same 
thing  holds  tor  shapes  ot  letters.  And  your 
chair,  or  your  letter  (it  a  true  artist  nuuie   it) 


fo,„t   l,;l,l,-it) 

ABC1)EE(;HI,IKEMN()P0RSH  :^'WXYZ.\■ 
ABCOE  FG  H  I J  KI,  M  NOPyRSTU  V  W  X  V  Z& 

abcdefghijklmnopqrstuvwxyztifitffiiffl  12Us678')0  (  $t.. ::'-"?  !*it§1')   i2'i4?f)-890 
abcdefghijkhnnopqrstuvu'XxztifHWffl  1 234567 S'MI  (${,.::'■'?!  I  ij^^^idySoo 


Mai, 
(llaiii 


733 


OUIGIIVAL 
OI>D  STYLE 

<> 

lo  f)ohit 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF 
ITS  ESTHETIC  DESIGN  '?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF 

How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design '?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type '?  What  do  they  see  in 
it '?  Why  is  it  so  superlatively  pleasant  to  their  eyes  *?  Good  design  is  always  practical  de- 
sign. And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent  practical  titness  to 
perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do 
exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and 
weak,  no  waste  of  material  and  no  lack  of  strength.  And,  beyond  that,  the  chair  may  have 
been  made  by  a  man  who  worked  out  in  it  his  sense  of  tine  shapes  and  curves  and  propor- 
tions :  it  may  be,  actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of  letters.  And 
your  chair,  or  your  letter  ( if  a  true  artist  made  it )  will  have,  besides  its  good  looks,  a  suit- 
ability to  the  nt\\  degree  to  be  sat  in,  or  stamped  on  paf:ier  and  read.  That  explains,  in  a 
way,  why  the  experts  rave  over  the  tine  shapes  of  letters ;  but  it  fails  to  explain  wherein 
the  shapes  are  tine.  It  you  seek  to  go  further  with  the  inquiry,  theories  will  be  your  only 
answer.  Here  is  a  theory  that  the  proponent  thinks  may  have  sense  in  it :  Fine  type  letters 
were,  in  the  first  place,  copies  of  fine  written  letters.  Fine  written  letters  were  fine  because 
they  were  produced  in  the  most  direct  and  simple  way  by  a  tool  in  the  hands  of  a  person 
expert  in  its  use,  by  a  person,  moreover,  who  was  an  artist,  i.e.,  a  person  equipped  to  make 
sound  judgments  about  lines,  curves,  proportions,  etc.  The  artist  of  that  moment  when 
printing  was  invented  who  furnished  the  fine  written  patterns  for  type  was  (luckily  for 
printing)  working  at  the  top  notch  of  a  fine  tradition  of  calligraphy.  He  was  making 
sound  judgments  about  lines  and  curves  and  proportions  of  letters.  He  had  resurrected 
an  ancient  distinguished  style  of  writing  and  had  added  to  it  the  quality  of  his  own  fine 
taste.  His  letters  flowed  from  his  pen  easily  and  simply  without  any  tricks  or  affectations 
or  extraneous  embellishments.  He  was  simple  enough  and  artist  enough  to  let  the  imple- 
ment itself  (and  his  facile  hand)  shape  the  product.  The  fine  qualities  of  this  artist's  let- 
ter-forms were  carried  over  into  the  metal  types  and  sealed  up  there,  like  butterflies  in 
amber.  It  is  argued,  however,  that  the  ascription  of  beauty  to  type  letters  by  this  route 

(Iwo  point  leaded) 

How  IS  ONE  to  assess  and  evaluate  a  type  How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design?  Why       face  in  terms  of  its  esthetic  design?  Why 


do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  type '?  What  do 
they  see  in  it '?  Why  is  it  so  superlatively 
pleasant  to  their  eyes?  Good  design  is  al- 
ways practical  design.  And  what  they  see 
in  a  good  type  design  is,  partly,  its  excel- 
lent practical  fitness  to  perform  its  work.  It 
Hozu  IS  one  to  assess  and  evaluate  a  type 
face  ni  terms  of  its  esthetic  design^  Why 
do  the  pace-makers  in  the  art  of  printing 


do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  type "?  What  do 
they  see  in  it?  Why  is  it  so  superlatively 
pleasant  to  their  eyes?  Good  design  is  al- 
ways practical  design.  And  what  they  see 
in  a  good  type  design  is,  partly,  its  excel- 
lent practical  fitness  to  perform  its  work.  It 
has  a  "heft"  and  balance  in  all  of  its  parts 
just  right  for  its  size,  as  any  good  tool  has. 

tunc  foxnl  \cadcd) 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ABCDEFGHIJKI,MNOPORSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfifltf tfitfl  1 234567890  ( $£,. : ;'-'  ?  !*t1:§ll)  '  234567890 
abcdefghijklmnopqrstuvwxyzfiflffffiijl  1234567890  ($£,.:;'-' ^ .'  ttlllJ  1234567S90 

Matrx.x  Infoniwtii'n  :  1(IA4.    Lower  case  alphaliet.   12A  points.    Figures.   .0692;  cuinma.   period  and   thin   space.   .(M46.    Runs  in  90 
channel  tnaKa/ine.  Code  word,  NOWU. 


734 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TE 
OF  ITS  ESTHETIC  DESIGN V  WHY  DO  FHE  FACP:-MAKERS  IN 

Howls  one  to  assess  and  e\aluate  a  type  face  in  terms  of  its  esthetic  tlesi^nV 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of 
type'?  What  do  they  see  in  itV  Wh}'  is  it  so  superlatively  pleasant  to  their 
eyes'?  Good  ilc.wq/i  /s  c//ic\/ys  pi\ictiCi.iI  dcs'/(i)i.  And  what  they  see  in  a  g'ood 
type  design  is,  partly,  its  excellent  practical  htness  to  perform  its  work.  It  has 
a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  si/.e,  as  any  good  tool 
has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do  ex- 
actly the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny" 
and  weak,  no  waste  of  material  and  no  lack  of  strength.  And,  heyontl  that,  the 
chair  may  have  been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine 
shapes  and  curves  and  proportions:  it  may  be,  actually,  a  work  of  art.  Tlie 
same  thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  letter  ( if  a  true 
artist  made  it)  will  have,  besides  its  good  looks,  a  suitability  to  the  /;th  degree 
to  be  sat  in,  or  stamped  on  paper  and  read.  That  ex[ilains,  in  a  wa}',  wh)  the 
experts  rave  over  the  fine  shapes  of  letters ;  but  it  fails  to  explain  wherein  the 
shapes  are  fine.  If  you  seek  to  go  further  with  the  incjuir}-,  theories  will  be}()ur 
onh  answer.  Here  is  a  theory  that  the  proponent  thinks  ma)  ha\e  sense  in  it : 
Fine  type  letters  were,  in  the  first  place,  copies  of  fine  written  letters.  Fine 
written  letters  were  fine  because  they  were  produced  in  the  most  direct  and 
simple  way  by  a  tool  in  the  hands  of  a  person  expert  in  its  use,  b)  a  person, 

moreover,  who  was  an  artist,  Le.,  a  person  etjuijiped  to  make  sound  judgments 
about  lines,  curves,  proportions,  etc.  The  artist  of  that  moment  when  printing 
was  invented  who  furnisheci  the  fine  written  patterns  for  type  was  ( luckily 
for  printing)  \\'()rking  at  the  top  notch  of  a  fine  tradition  ot  calligraph}-.  He 
was  making  sound  judgments  about  lines  and  curves  and  proportions  of  let- 
ters. He  had  resurrected  an  ancient  distinguished  style  ot  writing  and  had 
added  to  it  the  cjualit}'  of  his  own  fine  taste.  His  letters  flowed  from  his  pen 
easily  and  simply  without  an)'  tricks  or  affectations  or  extraneous  embellish- 
ments. He  was  simple  enough  and  artist  enough  to  let  the  implement  itself 
Hozv  is  one  to  assess  and  evaluate  a  t  ype  fare  in  terms  of  its  esthetir  desiqn? 
JJdrv  do  the  pare-n/akers  in  tJie  art  of  printinq  rave  over  a  s  peri  fir  ftire  of 
type?'  ll'Juit  do  they  see  in  it?  JJ'/rv  is  /t  so  sii pertatively  pleasant  to  tlieir 


point  l,;i,l,JI 


ABCDEFGHIJKLMNOPQRSTl '\  VVX YZ  \' 

ABCDEFC  HIJ  KLMNOVORST  U  VWX  yZi3 

A  H  CM  >  1   F( ;  ir  I J  K  I.  M  N  O  FO  RST  V  V  W  X  Y  ZcV 

abcdefghijklnmop.irstuvwxyy.fififfffiffl  1  234>T)7  (  $£.. :  ;'-'■?  !*t±§ll)  i  234^67 
abcde fgh^jk-tm no pqrstirLKcxyzfififfffiffl  1234567  ( .)C£,.  ::■-'?.'   U^^)  1234567 


O  IC  I  G  1  \  A  I. 

01. 1)  STVi^i^: 

1  2  point 


Mat>\.v    lHlinw,i/iii„  :    1_>A''.    I.'.w.t   .  :, 
chatmel  iiiaga/iiie.  Coiie  wurti.  XOXI. 


.■1I1.I1..I.CI.    1-4-4   p.iiuls.    Finn 


735 


ORICJIIVAL 
OLD  STYLE 

14  po//i/ 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FA 
IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  TH 

How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  es- 
thetic design '?  Why  do  the  pace-makers  in  the  art  of  printing  rave 
over  a  specific  face  of  type'?  What  do  they  see  in  it'?  Why  is  it  so 
superlatively  pleasant  to  their  eyes '?  Good  design  is  always  prac- 
tical design.  And  what  they  see  in  a  good  type  design  is,  partly, 
its  excellent  practical  htness  to  perform  its  work.  It  has  a  "heft" 
and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good 
tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the 
right  size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither 
clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of  material 
and  no  lack  of  strength.  And,  beyond  that,  the  chair  may  have 
been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes 
and  curves  and  proportions :  it  may  be,  actually,  a  work  of  art. 
The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or  your 
letter  (if  a  true  artist  made  it)  will  have,  besides  its  good  looks,  a 
suitability  to  the  ;2th  degree  to  be  sat  in,  or  stamped  on  paper  and 
read.  That  explains,  in  a  way,  why  the  experts  rave  over  the  fine 


Itivo  puitxt  U-tiiIrd) 


shapes  of  letters;  but  it  fails  to  explain  wherein  the  shapes  are 
fine.  If  you  seek  to  go  further  with  the  inquiry,  theories  will  be 
your  only  answer.  Here  is  a  theory  that  the  proponent  thinks  may 
have  sense  in  it.  Fine  type  letters  were,  in  the  first  place,  copies  of 
fine  written  letters.  Fine  written  letters  were  fine  because  they 
were  produced  in  the  most  direct  and  simple  way  by  a  tool  in  the 
hands  of  a  person  expert  in  its  use,  by  a  person,  moreover,  who 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  es- 
thetic design  ?  Wh  y  do  the  pace-makers  ?n  the  art  of  printing  rave 
over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so 


(one  p<niil  Icniled  I 


ABCDEFGHIJKLMNOPORSTUVWXYZ& 

ABCDEFGHUKLMNOPQRSTUVWXYZ& 

ABCDEFGHI  JKLMNOPgRSTUVWXYZ& 

abcdef ghijklmnopqrstuvwxyzfififf ffiffl  1 23  ($£  :;'-"?!* 1 1 §11)  1 23 
ahcdefghijt^lmnopqrstuvwxyzfijiffjfiffllZS  ($£:f-  ? !  )  12^ 


Miitrix  Informalion  :  I4A2.   Lower  case  alphaliet.   \7 1  piiints.    Figures,   .(jyfiH; 
cli.innel  iiiaK.i/iiie.  Code  w..rd.  NOXY. 


Ill  tliin  spaie.   .04X4,    Kuiis  in  90 


736 


When  a  lot  o£  type  color  must  be  concentrated  in  small 
space- when  you  just  have  to  arrest  the  reading  eye- 
Linotype's  Pabst  Extra  Bold  Family  is  likely  to  meet 
your  needs.  Here,  surely,  are  types  ^'with  a  wallop." 
Pabst  Extra  Bold,  its  companion  Italic,  and  Pabst 
Extra  Bold  Condensed  have  color  in  abundance-yet 
none  o£  them  sacrifice  the  virtues  a  type  (ace  should 
possess  to  achieve  maximum  weight.  You  can  read 
these  £aces,  and  assimilate  the  message  without 
squinting  or  eyestrain.  Despite  the  somewhat  ex- 
treme thickening  o£  elements,  each  retains  surprising 
shapeliness.  Each  series  is  available  in  a  £ull  range  o£ 
use£ul  sizes-all  shown  briefly  on  following  pages. 

^c  TRADE  ^1  H  DT  VPE  ''^"'  0 


MERGENTHALER   LINOTYPE   COMPANY,  BROOKLYN,  NEW  YORK,  CHICAGO,  SAN    FRANCISCO,  NEW 
ORLEANS.   CANADIAN    LINOTYPE,  LIMITED,  TORONTO.    Representatives  in  the  Principal  Cities  of  the  World 


PABST  EXTRA  BOLD 


REGULAR 


ITALIC 


CONDENSED 


ATL 


APL 


IS  you  print  enough  wo 
It  you  print  enough 

It  you  print  enou 

I£  you  print  e 

I£  you  prn 

If  you  pi 

If  you  i 

If  you 

Ifyol 


•  If  you  print  enough  ivo 
If  you  print  enough 
If  yon  print  enou 

If  you  print  i 

Ifyoupri 

If  you  p 

Ifyoui 

ifyor 

Ifyu 


>  It  you  print  enough  with  c 
•  It  you  print  enough  wi 
<  It  you  print  enough 

If  yoa  print  enoa 

If  you  print  e 

If  yott  print 

It  you  pri 

If  you  pr 

tf  you  p 

If  yor 

Kyo 


ADVERTISING  FIGURES,  available  £or  various 
point  sizes,  are  shown  at  the  end  of  the  Pabst  Extra 
Dold  section. 

POSTER  SIZES  o£  Pabst  Extra  Rold  and  Pabst 
Extra  Bold  Condensed,  up  to  144  point,  are  avail- 
able on  special  order. 


738 


PABST  EXTRA  BOLD  with  ITALIC 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF 
ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART 
How  is  one  to  assess  and  evaluate  a  type  (ace  in  terms  o£  its  esthetic 
design?  Why  do  the  pace-makers  in  the  art  o£  printing  rave  over  a  spe- 
cific £ace  o(  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively 
pleasant  to  their  eyes?  Good  design  is  always  practical  design.  And 
what  they  see  in  a  good  type  design  is,  partly,  its  excellent  practical 
fitness  to  perform  its  work.  It  has  a  heft  and  balance  in  all  of  its  parts 
just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of 
its  parts  made  nicely  to  the  right  size  to  do  exactly  the  work  that  the 
How  is  one  to  assess  and  evaluate  a  type  face  in  ternts  of  its  esthetic 
design?  Why  do  the  pace-mahers  in  the  art  of  printing  rave  over  a  spe- 

(four  point  leaded  > 

ABCDEFGHIJKLMNOPQRSTUyWXYZ& 
ABCDEFGHIJKLMNOPQRSTUyWXYZ& 

abcdef  ghi  jklmnopqrstuv  wxyz  1234567890  (  $£,.:;'-'?!*  ) 
abcdefghijklmnopqrstuvwxyxl234567890($£y.:;*-*7:*) 

Matrix  Informal  ivii:  10A-i2{).  Lenglli  c.f  lower  tasc  alpliahel .  17ll  points.  Imkuics.  .US.i:  L.imiiia.  piTi.i,!  ami  thin  MJaie.  .(141?.  Will  run  in  90 
channel  layout.  Code  word.  ZEJA. 


10 


C"   LINOTYPE     ) 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN 
TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE- 
How  is  one  to  assess  and  evaluate  a  type  £ace  in  terms  o£  its  1 2 
esthetic  design?  Why  do  the  pace-makers  in  the  art  o£  print- 
ing rave  over  a  specific  £ace  o£  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  de- 
sign is  always  practical  design.  And  what  they  see  in  a  good 
type  design  is,  partly,  its  excellent  practical  Witness  to  per- 
Sorm  its  work.  It  has  a  he£t  and  balance  in  all  o£  its  parts  just 
right  £or  its  size,  as  any  good  tool  has.  Your  good  chair  has 
How  is  one  to  assess  and  evaluate  a  type  face  in  ternts  of  its 
esthetic  design?  Why  do  the  pace-ntahers  in  the  art  of  print- 

I  I, .III  t"iiil  lrail,-J' 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFCHIJKLMNOPQRSTUyWXYZ& 

abcde£ghijklmnopqrstuvwxyzl234567890($£,.:;'-'?!'^) 
abcdefghilMmnopqrstuvwxyzl234567890($£9.:;*'*7!'^') 

Matrix  Iniin-malion  ■  1  .'A-"'.-'-  1-CnKlli  of  Iowl-i  use  alliliahft,  JO.!  lioinls.   l■i^;UIl.■^.  .O'li.S;  vomiii.i.  luTiod  .iiid  tlun  sijati.-,  ,!M,<-1.  Will  run  ill  9(1 
channel  layout.  Code  word.  ZKKK. 


739 


PABST  EXTRA  BOLD  with  ITALIC 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE 
FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY 
14  How  is  one  to  assess  and  evaluate  a  type  £ace  in 
terms  o£  its  esthetic  design?  Why  do  the  pace-makers 
in  the  art  o£  printing  rave  over  a  specific  £ace  of 
type?  What  do  they  see  in  it?  Why  is  it  so  superla- 
tively pleasant  to  their  eyes?  Good  design  is  always 
practical  design.  And  what  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fitness  to 
perform  its  work.  It  has  a  heft  and  balance  in  all 
of  its  parts  just  right  for  its  size,  as  any  good  tool 
has.  Your  good  chair  has  all  of  Its  parts  made 
nicely  to  the  right  size  to  do  exactly  the  work  that 
the  chair  has  to  do-neither  clumsy  and  thick,  nor 
^^skinny''  and  weak-no  waste  of  material  and  no 
lack  of  strength.  And,  beyond  that,  the  chair  may 
have  been  made  by  a  man  who  worked  out  in  it  his 
sense  of  fine  shapes  and  curves  and  proportions- 

HOW  iS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE 
How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace-ntahers 
in  the  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it  so  superla- 
tively pleasant  to  their  eyes?  Good  design  is  always 

(four  point  leaded) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGH1JKLMNOPQRSTUVWXYZ& 

abcdef ghi jklmnopqrstuvwxyz  ($£,.:  ;^-'? !  ^  ) 
abcdefghijltImiiopgrstui;u;xyz($£,.:;^-'?/'^) 

1234567890     1234S67S90 

Matrix  Information  :  14A172.  Length  of  lower  case  alphabet.  234  points.  Figures,  .1107;  comma,  period  and  thin  space.  .0553.  Will  run  in  90 
channel  layout.  Code  word,  ZEKU. 


740 


PABST  EXTRA  BOLD 


HOW  IS  ONE  TO  ASSESS  AND  EVALU 
How  is  one  to  assess  and  evaluate  a  type  18 
face  in  terms  oE  its  esthetic  design?  Wliy 
do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlative 
ly  pleasant  to  their  1234567890($v:;'-'?!) 

(six  point  leaded) 

ABCDEFGHIJKLMNOPQRSTUyWXYZ& 
abcdefghijklmnopqrstuvwxyz 

Matrix  hiformation :  ISA-'O'-  Length  of  lower  case  alrli.lliet.  296  points.  FiRures,  AOr,;  comma  and  period,  .083:  thin  space.  .0277  and  .083. 
Will  run  in  72  channel  layout :  also  caps  in  34  channel  au.xiliary  and  lower  case  in  cap  channels  of  90  channel  magazine,  except  m  and  w. 
rode  word.  NUBO. 


-('    LINOTYPE"")- 


HOW  IS  ONE  TO  ASSESS  AN 
How  is  one  to  assess  and  evalu  24 
ate  a  type  face  in  terms  o£  its 
esthetic  design?  Why  do  the  pa 
ce-makers  in  the  art  of  printi 
ngraveo  1234567890($,.:;'-'?!) 


(si-t  t'oini  Iraih-d) 


ABCDEFGHIJKLMNOPQR& 
abcdefghijkhnnopqrstuvwxyz 

Matrix  hifoniwtion:  24A2?9.  Length  of  lower  case  alpliabet.  ^9^  points.  Figures.  .2213:  comma  and  period.  .0968;  thin  space,  .0277.  Will 
run  in  wide  72  channel  layout;  also  litwer  case  in  cap  side  of  72  channel  magazine,  ("ode  word.  ZIAf. 


741 


APL-PABST  EXTRA  BOLD 


How  is  one  to  assess  and 

^^  evaluate  a  type  face  in  te 

rnts  abcdef ghi  jklmnopqr 

stuvwxyz  1234  ($9*:;'-'?!) 


(six  point  leaded) 


ABCDEFGHIJKLMNOP 
QRSTUVWXYZ& 


APL  —  30  Point  Pabst  Extra  Bold  (30A1001)  Lower  case  alphabet.  494  points.  Code  word.  ZAKEV 


-('"  LINOTYPE""  > 


How  is  one  to  assess 
and  evaluate  a  type  £ 
ace  abcdeCghijklnin 
opqrstuvwxyz  5678 


(sijir  Point  leaded) 


ABCDEFGHIJKLMN 
OPQRSTUyWXYZ& 


APL  — 36  Point  Pabst  Extra  Bold  (36A10ni)  Lower  rase  alphabet.  584  points.  Code  word.  ZAKFO 


18  and  24  point  sizes  (not  shown) 
are  also  available  in  APL  matrices 


742 


APL-PABST  EXTRA  BOLD 


How  is  one  to  asse  ,^ 

42 

ss  and  evaluate  a 
type  face  in  terms 
of  its  esthetic  desi 
gn?  Why  do  the  pa 
ce  abcdef ghijklm 
nopqrstuvwxyz 


(six  point  leaded) 


ABCDEFGHIJKL 

MNOPQRSTUV 

WXYZ&  (,.:;'-♦?!) 

1234567S90 


API.  — 42  Pnim  Pal.st  Kxtra  H..I1I  (4?A1™'1)  lower  ra>;c  .ilphahel.  fiK7  point!!.  (ikIp  wc.nl.  ZACBE 


743 


APL-PABST  EXTRA  BOLD 


4,  How  is  one  to  as 
sess  and  evalua 
te  a  type  face  in 
terms  o£  its  esth 
et  abcdefghijkl 
ninopqrstuvwx 


(six  point  leaded) 


ABCDEFGHIJK 

LMNOPQRSTU 

VWXYZe  (.;-!?) 

1234567S90 


APL  — 48  Point  Pabst  Extra  Bold  (48A1001)  Lower  case  alphabet,  777  points.  Code  word,  ZAKHA 


744 


APL-PABST  EXTRA  BOLD 


How  is  one  t 


60 


o  assess  and 
evaluate  an 
abcdefghijk 
Imnopqrsvz 


( si.r  Point  leaded ) 


ABCDEFGH 
IJKLMNOP 
QRSTUYW 


APL  — 60  Point  Palist  Extra  Bold  (60Alor)l)  Lower  case  alphaliet.  1010  points.  Toile  word.  ZAKJE 


745 


APL-PABST  EXTRA  BOLD 


How  is  on 


72 


e  to  assess 
and  evalu 
abcdefghi 


fsix  point  leaded) 


ABCDEF 

OPQRST 

GHUiCLN 


APL— 72  Point  Pahst  Extra  Bold  (72A1001)  Lower  rase  alphabet.  1236  points.  Code  word.  ZACCI 


746 


APL— PABST  EXTRA  BOLD 


do 
your  ••!) 


96 


APL  — 95  Point  Pabst  Extra  Buld  (96A10()1>  Lower  case  alphaliet.  1.744  points.  Code  word.  ZAZUM 


-(      LINOTYPE-)- 


120 


API.— 120  Point  Pahst  Extra  liuld  (IJUAIOOI)  Lower  lase  aliihal>tt.  J.IO.S  points.  Code  word.  ZAZUH 


747 


Advertising  Figures 


Pabst  Extra  Bold-18  to  36  Point 


1234567890 

36An3.  Punched  in  auxiliary  position.  Figures.  .315.  For  two  line  18  point  from  Display  Mold  or  three  line  12 
point  from  Special  Advertising  Figure  Mold.  Runs  in  left  side  of  Wide  34  channel  auxiliary  magazine.  Code 
word,  ZAFIK. 

1234567890 

30A217.  Punched  in  auxiliary  position.  Figures.  .2767.  For  two  line  12  point.  Runs  in  Wide  34  channel  auxiliary 
magazine.  Code  word,  ZAFZO. 

1234567890 

24A255.  Punched  in  normal  position.  Figures.  .2213.  For  two  line  in  point.  Runs  in  34  channel  auxiliary  maga- 
zines. Code  word,  ZEMA. 

1234567S90 

18A307.  Punched  in  normal  position.  Figures.  .166.  For  two  line  R  point.  Runs  in  90  channel  magazine,  advertis- 
ing figure  channels  and  in  all  auxiliary  magazines.  Code  word,  ZELl. 


Pabst  Extra  Bold  Cond.-l8  to  42  Point 


1234567890 

42A37.  Punched  in  auxiliary  position.  Figures,  .3044.  For  two  line  18  point  from  Display  Mold  or  three  line  12 
point  from  Special  Advertising  Figure  Mold.  Runs  in  Wide  34  channel  auxiliary  magazine.  Code  word,  ZAFOL. 

1234567890 

30A221.  Punched  in  normal  position.  Figures.  .1937.  For  two  line  12  point.  Runs  in  all  auxiliary  magazines.  Code 
word,  ZATCU. 

1234567S90 

24A2S9.  Punchecl  in  normal  position.  Figures.  .1S22.   Fnr  two  line  10  point.  Runs  in  90  channel  magazine,  adver- 
tising figure  channels  and  in  all  auxiliary  magazines.  Code  word,  2AFCA. 

1234567S90 

18A343.  Punched  in  normal  position.  Figures.  .1107.  For  two  line  S  point.  Runs  in  90  channel  magazine,  regular 
figure  and  advertising  figure  channels  and  in  all  auxiliary  magazines.  Code  word,  ZAYCA. 

Note:  Fractions,  points,  cent  mark,  and  other  commercial  characters  are  available  for  these  faces 


748 


APL-PABST  £XTRA  BOLD  ITALIC 

HOW  IS  ONE  TO  ASSESS  AND  EVALU 
How  is  one  to  assess  and  evaluate  a  ty  |g 
pe  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of 
printing  rave  over  a  specific  face  of  ty 
pe?  What  do  they  see  in  it?  Why  is  it  so 
super  fiflffffiffi  I234567890($,.;:'-'?/> 


i-i.r  p.iiiit  IcaJcdi 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
abcdefghijhlmnopqrstuvwxyx 

APL— 18  Point  Pabst  Extra  Bold  Italic  (18A10J1)  Lower  case  alphabet.  310  points.  Ccule  witJ.  Z.\IIVA 


-(      LINOTYPE      >- 


HOW  IS  ONE  TO  ASSESS  AN 
How  is  one  to  assess  and  eval  24 
uate  a  type  face  in  terms  of  its 
estttetic  design?  Why  do  the  p 
ace-makers  in  the  art  of  print 
fiflffffiffi  12345678($,.:;'-'?:) 


r.'iiit  U-ad.ilt 


ABCDEFCHIJKLMNOPQR& 
abcdefghijklntnopqrstvwxyx 

API.  — 24  Point  I'abst  Kxlra  Hobl  Italic  UMAHI.il  I   Lower  c.ise  alpbal.i-t.  4011  p.nnts.  (  ..,U-  n,,nl.  /AHZE 


749 


APL— PABST  EXTRA  BOLD  ITALIC 


How  is  one  to  assess  and 

^^  evaluate  a  type  face  in  te 

rnt  abcdefghijhlmnopqr 

stuvwxyx  1234  r$«»:9^-'?0 


(six  point  leaded) 


ABCDEFGHiJKLMNOP 
QRSTUVWXYZ& 

API.  —  30  Point  Pabst  Extra  Bold  Italic  (JDAIOJI)  Lower  lase  alpliahet.  494  points.  Code  word.  ZAJAF 


-("LINOTYPE")- 


How  is  one  to  assess 
and  evaluate  a  type  f 
ace  abcdefghijMntn 
opqrstuvwxyx  5678 


(six  point  leaded) 


ABCDEF&ajKLMN 
OPQRSTUVWXYZ& 

APL  — 36  Point  Pabst  Extra  Bold  Italic  (36A1031)  Lower  case  alphabet,  586  points.  Code  word.  ZAJAL 


750 


APL-PABST  £XTKA  BOLD  ITALIC 

How  is  one  to  asse  ^^ 
ss  and  evaluate  a 
type  face  in  terms 
of  its  esthetic  desi 
gn?  Why  do  the  pa 
ce  abcdefghijiztm 
nopqrstuvwxyx 


I  six  point  leaded  1 


ABCDEFGHIJKL 

MNOPQRSTUV 

WXYZ&  ($.;*•*?!) 

1Z34567890 

API,  — 4:  Point  I'iibst  Kvtra  Itolil  Italic  (4JAin.ll)  Lower  rase  alpliahet.  fiR4  pnints.  C.iU-  w.ir.I.  ZAJAS 


751 


APL-PABST  EXTRA  BOLD  ITALIC 

,,  How  is  one  to  a 
ssess  and  evaiu 
ate  a  type  face  i 
n  terms  of  its  e 
St  abcdefghijkl 
mnopqrstuMnvx 


(six  point  leaded) 


ABCDEFGHiJK 
LMNOPQRSTU 

VWXYZ&O:-!?) 
1234567S90 


APL — 48  Point  Pabst  Kxtra  Bold  Italic  (4RA10,U)  Lower  case  alphabet,  776  points.  Code  word.  ZAJAY 


752 


>•••••••••••••••••••••••• 


i      c 


cocktaii 
hour 
at  the 
Ronton 

•  •  •  gay, 
jolty  & 
the  sort 
of  place 
you*U  go 
for  •  •  • 

4  to  5  •  •  • 
come/ 

This  newspaper  adveiiiscitieiil  is  set  in  -4 
point  Pabst  Extra  Bold  Italic.  Decoration, 
Matrix  Slide.  5  point  No.  1303. 


BERENGOL 

will  sail  at  1:30  a.m.  on 

MON.  MAY  7 

instead  of  midnight  for 
CHERBOURG  &  FARMS 

C  UNE  LINE 


This  newspaper  advertisement  is  set  in  42  point  Pabst  Extra  Bold  Italic,  18 
point  I'ahst  Extra  Ilnld  and  18  point  Pabst  Extra  Bold  Italic.  Decoration. 
Matrix  Slide.  18  point  No.  1828a. 


Pabst  Extra  Bold  Italic^ 


between  color-bands  of 


rulej  is  a  simple  way  to 


handle  short  copy  in  an 


arresting^  eye-catching 


manner.  Novel-stylish! 


PABST  EXTRA  BOLD  CONDENSED  with  ITALIC 


10 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ES- 
THETIC DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  o£  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  oi  printing  rave  over  a  specific  (ace  o£  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is 
always  practical  design.  And  what  they  see  in  a  good  type  design  is,  partly,  its  ex- 
cellent practical  fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of 
its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do- 
neither  clumsy  and  thick,  nor  "skinny"  and  weak-no  waste  of  material  and  no 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What 


(four  point  leaded) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCOEFGHIJKLMNOPQRSTI/yWXYZ& 

abcdefghijklmnopqrstuvwxyzl234567890($£,.:;'-'?!*) 
abcdefghijMmnopqrstuvwxyzl234i67890($£,.:;'-*?!*) 

Matrix  Informalioti :  10A410.  Length  of  lower  case  alphabet.  144  points.  Figures.  .0692;  comma,  period  and  thin  space.  .0346.  Will  run  in  90 
channel  layout.  Code  word,  ZAYMO. 


-{LINOTYPE     y 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF 
ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF 
1 2  How  is  one  to  assess  and  evaluate  a  type  face  in  terms  o£  its  esthetic 
design?  Wliy  do  the  pace-makers  in  the  art  of  printing  rave  over  a  spe- 
cific face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively 
pleasant  to  their  eyes?  Good  design  is  always  practical  design.  And 
What  they  see  in  a  good  type  design  is,  partly,  its  excellent  practical 
fitness  to  perform  its  work.  It  has  a  ^^heft"  and  balance  in  all  of  its 
parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair  has 
all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly  the  work  that 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  estltetic 
design?  Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  spe- 


(lam   point  leaded) 


ABCDEFGHIJKLMN0PQRSTUVWXYZ8 
ABCD£FGHfJKLMNOPQRSTC;VWXYZ& 

abcdefghijklmnopqrstuvwxyzl234567890($£,.:;'-'?!*) 
abcdefghijfclmnopqrstuvwxyzl2S4S67890($£,.:;'-'?!*) 

Matrix  Itljormation :  12A.382.  Length  of  lower  case  alphabet.  172  points.  Figures.  .08J ;  comma,  period  and  thin  space.  .0415.  Will  run  in  90 
channel  layout.  Code  word.  ZAYNU 


754 


PABST  EXTRA  BOLD  CONDENSED  with  ITALIC 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN 
TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE- 
How  is  one  to  assess  and  evaluate  a  type  (ace  in  terms  o£  its  ^4 
estlietic  design?  Why  do  the  pace-makers  in  the  art  o£  print- 
ing rave  over  a  specific  £ace  o£  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  de- 
sign is  always  practical  design.  And  what  they  see  in  a  good 
type  design  is,  partly,  its  excellent  practical  Witness  to  per- 
£orm  its  work.  It  has  a  '<he£t"  and  balance  in  all  o£  its  parts 
just  right  £or  its  size,  as  any  good  tool  has.  Your  good  chair 
has  all  o£  its  parts  made  nicely  to  the  right  size  to  do  exactly 
the  work  that  the  chair  has  to  do-neither  clumsy  and  thick, 
nor  '^skinny"  and  weak-no  waste  o£  material  and  no  lack  o£ 
strength.  And,  beyond  that,  the  chair  may  have  been  made 
by  a  man  who  worked  out  in  it  his  sense  o£  £ine  shapes  and 
curves  and  proportions-it  may  be,  actually,  a  work  o£  art. 
The  same  thing  holds  £or  shapes  o£  letters.  And  your  chair, 
or  your  letter  (i£  a  true  artist  made  it)  will  have,  besides 

HOW  iS  ONE  TO  ASSESS  AND  EV  ALU  ATE  A  TYPE  FACE  EN 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its 
esthetic  design?  Why  do  the  pace-makers  in  the  art  of  print- 
ing rave  over  a  specific  face  of  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  de- 
sign is  always  practical  design.  And  what  they  see  in  a  good 
type  design  is,  partly,  its  excellent  practical  fitness  to  per- 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFCHUKLMNOPQRSTUyWXYZ& 

abcde£ghijklmnopqrstuvwxyzl234567S90($£,.:;'-'?!*) 
abcdefghijklmnopqrstuvwxyzl234567890($£,.:;'-'?:*) 

Matrix  li:joi  Illation  :  14A204.  LeiiRtli  of  Icwer  case  aUilialn-t,  -01  pdints.  Fisures.  .0%8;  ctmiina.  peri.nl  and  tliiii  space.  .04X4.  Will  run  in  'JO 
channel  laycmt.  Code  word.  ZAYLI. 


755 


PABST  EXTRA  BOLD  CONDENSED 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE 
1 8  How  is  one  to  assess  and  evaluate  a  type  face  in  terms 
o£  its  esthetic  design?  Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant 
to  their  eyes?  Good  design  is  always  practical  design? 
And  what  they  see  in  a  good  type  1234567S90($,.:;^-'?!) 


(six  point  leaded) 


ABCDEFGHIJKLMN0PQRSTUVWXYZ8 
abcdetghijklmnopqrstuvwxyz 

Matrix  Information :  1SA327.  Length  of  lower  case  alphabet,  220  points.  Figures,  .1107;  comma,  period  and  thin  space.  .0553.  Will  run  in  90 
channel  layout.  Code  word.  ZABON. 


-{"'LINOTYPE  '■>> 


HOW  IS  ONE  TO  ASSESS  AND  EVALU 
24  How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  estlietic  design?  Wliy 
do  tlie  pace-makers  in  the  art  o£  printing 
rave  over  a  specific  face  of  type?  Wliat 
do  tliey  see  in  it?  W  1234567890($,.:;'-'?!) 


(sir  point  leaded) 


ABCDEF6HIJKLMN0PQRSTUVW& 
abcdefgliijklmnopqrstuvwxyz 

Matrix  Information :  24A279.  Length  of  lower  case  alphabet,  287  points.  Figures,  .1522;  comma  and  period.  .0761;  thin  space,  .0277  and  .083. 
Will  run  in  72  channel  layout;  also  caps  in  34  channel  auxiliary  magazine  and  lower  case  in  cap  side  of  90  channel  magazine.  Code  word. 
ZABOV. 


756 


PABST  EXTRA  BOLD  CONDENSED 

How  is  one  to  assess  and  evaluate  a 
type  face  in  1 1234567890($,.:;'-'?!)  ^® 


(^j.r  Point  leaded  > 


ABCDEFGHIJKLNNOPQRSTU 
y  WXYZ&  abcdef  ghijklmnopqrs 

Matrix  Information :  30A2n7.  Length  nf  lower  case  alphabet,  329  points.  Figures.  .1937;  comma  ami  periud,  .095;  thin  space.  .0277  and  .083. 
Will  run  in  73  channel  layout.  Code  word,  ZABPO. 


-(LINOTYPE-  > 


How  is  one  to  assess  and  evalu 
ate  a  ty  1234567890($,.:^'?!) 


(six  poiyit  leaded) 


ABCDEFGHUKLMNOPQR 

STUyWXYZ8abcde(ghijld 

Matri.r  Injormadon  :  36A1-?-  I-eiigth  of  lower  case  alplial)et,  392  pniiits.  Fistires,  . J35I  ;  ci>innia  and  period,  .0'J68;  thin  space.  .0277.  Will 
run  in  wide  72  channel  laynut;  also  lower  case  in  cap  channels  of  72  cliannel  nia;^aziiie.  Code  word.  ZAFIK. 


-(LINOTYPE  > 


PABST  EXTRA  BOLD  CONDENSED  No.  1 


ABCDEFGHUKLNNO  4. 
PQRSTUV  ($,.:;'-'?!)  12 

Matrix  Information:  ^^/\\^.  Caps,  figures  and  points  only.  For  two  line  work  on  Special  Advertising  Figure  Mold  K-2106.  Figures,  .3044. 
Will  run  in  wide  auxiliary  niagiizine.  Special  alisnment.  Code  word.  ZFDAF. 


757 


APL-PABST  EXTRA  BOLD  CONDENSED 

^^  How  is  one  to  assess  and  e 
valuate  a  type  (ace  in  term 
s  of  its  esthetic  design?  W 
hy  do  the  pace-makers  in  t 
he  art  o£  printing  rave  ove 
r  a  specific  face  of  type?  W 
hat  1234567890($.;'-'?!) 


(six  point  leaded) 


ABCDEFGHUiaNNOP 
QRSTUVWXYZe 

abcdeighijklmnopqrs 
tuvwxyz 

APL  —  42  Toint  Tabst  Extra  Bold  Condensed  (42A1030)  Lower  case  alphabet.  4fi7  points.  Code  word.  ZAI.AV 


18,  24,  30  and  36  point  sizes  (not  shown) 
are  also  available  in  APL  matrices 

758 


APL-PABST  EXTRA  BOLD  CONDENSED 


How  is  one  to  assess  an  ^, 
d  evaluate  a  type  face  i 
n  terms  of  its  esthetic  d 
esign?  Why  do  the  pac 
e-malcers  in  the  art  of  p 
rinting  r  1234567890 


(six  point  leaded! 


ABCDEFGHUiONN 
OPQRSTUyWXYZ& 

abcdefghijklmnopqrst 
uvwxyz  ($,.:;*■'?!) 

APL  — 48  Piiint  r.ilist  Extra  Bold  Condensed  (4.SA10,in)  Lower  case  alplial}et.  511  points.  i'.)de  word.  ZAI.BU 


759 


APL-PABST  EXTRA  BOLD  CONDENSED 


«•  How  is  one  to  asse 
ss  and  evaluate  a  t 
ype  face  in  terms 
of  abcdef ghijklm 
nopqrstttvwxyz  ?! 


(sijtr  point  leaded) 


ABCDEFGHUK 
LMNOPQRSTU 

VWXYZ8$1234 

APL  —  60  Point  Pabst  Extra  Bold  Condensed  (60A1030)  Lower  case  alphabet.  683  points.  Code  word,  ZALCA 


760 


APL— PABST  EXTRA  BOLD  CONDENSED 


How  is  one  to 
assess  and  eva 
luate  a  type  fa 
abcdefghimno 


72 


(six  point  leaded) 


ABCDEFGHI 
JiONNOPQ 
RSTUVWXY 

APL  — 72  Point  Pabst  Extra  Rnid  Condensed  (72A10,W)  Lower  case  alphabet.  f.X7  points.  Code  word.  ZAI.DE 


761 


specials  This  Week 

New  Market 


PINEAPPLE,  SLICED 
TOMATO  JUICE 
BARTLETT  PEARS 
KENS  CORN  FLAKES 


13c 

^9  cans 

can  M  OC 
3pkgs.lZC 


can 


HALF  or  WHOLE 


Small  Pork  Loins  lb.  1 


BEST  GRADE 


Rib  Lamb  Chops  lb.  1 

MILK  FED 

Rump  of  Veal       lb.  2 

BEST  GRADE 

Shoulder  of  Lamb  lb.  1 

WHOLE  or  HALF 

Side  Irish  Bacon  lb.  1 

FRESH  KILLED 

Vermont  Turkeys  lb.  3 

CUT  FROM  No.  1  QUALITY 

Tenderloin  Steak  lb.  1 


This  specimen  was  set  on  a  Model  14  Linotype  with  wide  auxiliary  magazines,  with  the  ex- 
ception of  the  two  top  display  lines,  which  were  cast  on  the  AU-Purpose  Linotype,  in  30 
point  Pabst  Extra  Bold  Italic,  and  60  point  Pabst  Extra  Bold. 

The  first  block  of  type  is  in  30  point  Pabst  Extra  Bold  Condensed,  with  36  point  Pabst 
Extra  Bold  advertising  figures.  The  matter  directly  below  is  in  24  point  Pabst  Extra  Bold 
caps  with  24  point  Pabst  Extra  Bold  Condensed  lower  case,  and  24  point  Pabst  Extra  Bold 
figures.  The  type  at  the  right  (within  rule)  is  18  point  Pabst  Extra  Bold  caps  with  18  point 
Pabst  Extra  Bold  Condensed  lower  case,  and  18  point  Pabst  Extra  Bold  figures.  8  point 
Cheltenham  Bold  caps,  lower  case,  and  italic,  has  been  used  in  the  lower  half  of  the  specimen. 


Noodles  2 /£e.p/rf«. 
TunaFishigecan2lG 
Oranges  3  ^ozen  20c 
Peaches  2 /ge  can.  23c 
Jello,  all  f  lavs.  pk^.  5c 
Syrup  pt  15Cqt27c 
Tuna  Fish  2  ir,  23c 
Sweet  Pickles  14c 
Raisinstf;/j;,,.10c 

SHOPPING 
BAG 

containing  samples  including  shaker 
salt,  balloons,  Myra  water  softener, 
Silver  Dust  cleanser,  German  meal  — 
—  free  with   every   purchase  of  more 


Linotype 

PARAGON 

WITH  ITALIC  and  Small  Caps 
and  with  PARAGON  BOLD 


Clean,  clear  and  open  in  design,  Linotype  Paragon  is  fittingly 
a  member  of  the  Legibility  Group  of  newspaper  and  periodical 
faces.  Its  letter  shapes  are  generously  proportioned,  its  counters 
round  and  open  to  print  sharp  and  clean  under  the  somewhat  ex- 
cessive inking  necessary  to  accommodate  varying  styles  of  illus- 
trative material  and  heavy  advertising  display. 

There  is  the  proper  degree  of  contrast  between  the  thick  and 
thin  elements  of  Paragon  design,  its  weight  is  light  and  airy  with 
white  space  properly  distributed  within  and  around  each  letter. 
Paragon,  a  fine  modern  periodical  roman  in  every  respect,  is 
available  is  six  sizes  in  combination  with  Italic  and  Small  Caps, 
from  6  to  10  point.  It  is  also  available  in  combination  with  Paragon 
Bold  in  seven  sizes,  from  312  to  10  point,  inclusive. 


MERGENTHALER  LINOTYPE  COMPANY,  BROOKLYN,  N.  Y. 

NEW  YORK  CITY   •   CHICAGO   •   SAN  FRANCISCO   •   NEW  ORLEANS 
CANADIAN  LINOTYPE,  LIMITED,  TORONTO,  CANADA 

Representatives  in  the  Principal  Cities  oi  the  World 


DISPLAY  AND  RUNNING  HEAPS  ARE  MEMBERS  OF  THE  LINOTYPE    MEMPHIS  EAMILY 


LINOTYPE  PARAGON  with  ITALIC 


-  Comparison  of  Sizes 

6  Point  (6A390)  Lower  case  alphabet.  108  points.  Figures.  .05S3 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN? 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  tlie  pace-makers 
in  tlie  art  of  printing  rave  over  a  specific  face  of  type?  Wliat  do  they  see  in  it?  Why  is  it  so  superla- 
tively pleasant  to  their  eyes?  Good  design  is  always  practical  design.  And  what  thev  see  in  a  goo  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN? 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  desigyi?  Why  do  the  pace-makers 
in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so  super  vbcd 

7  Point  (7Alfi4)  Lower  case  alpliahet.  120  points.  Fisures.  .059 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  tlie  art  of  printing  rave  over  a  specific  face  of  type?  What  do  tliey  see  in  it? 
Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  practical  desig  12.34 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in  vbcd 

7'/i  Point  {7'-<A20)  Lower  case  alphabet.  124  points.  Figures.  .0622 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  EST 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  tliey  see  in 
it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  practical  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  EST 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  se  vbcd 

8  Point  (.SA46't)  L.iwer  case  alphaliet.  129  points.  Figures.  .0622 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ES 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do 
tlie  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they 
see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ES 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do 
the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  t  vbcd 

9  Point  t9A15fi)  Lower  case  alphal)et.  136  points.  Figures.  .0692 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type? 
What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Go  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE' A  TYPE  FACE  IN  TERMS  OF 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  ty  vbcd 

10  Point  (10A448)  Lower  case  alphabet.  146  points.  Figures,  .0761 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  r  rt  of  printing  rave  over  a  specific  face  of 
type?  What  clo  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  thei  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  vbcd 


(LINOTYPE     ) 

LIST   OF    CHARACTERS   AVAILABLE    IN    TWO-LETTER    FONTS 
WITH    ITALIC    AND    SMALL   CAPS 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&,^CE 

abcdefghijklmnopqrstuvwxyz 

abcdefghijklmnopqrstuvtvxyz 
12345678908eoefiflffffiffl.$ £,.:;-"?!-!—        .  .  .()@Tb% 
1234567 890(eoefififjff\tfi.$ £  ..:;-"?! ...        ()@m  % 

*  t  i  li  §  [  P/^  ^4  %  1/2  %  %  % 
ftU[]y8y4¥8V2¥8¥4V8 


7bA 


LINOTYPE  PARAGON  with  PARAGON  BOLD 


Comparison  of  Sizes  = 

5K-  Tiiint  (5'4Af>6)  I.mwi-i  .  .isi- aliiliahet,  101  imints.  FiKiirc,  .DSii 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYl'E  FACE  IN  TERMS  OK  ITS  ESTHETIC  DESIGN?  WHY 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Wiiy  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  plea  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  I\  TERMS  OK  ITS  ESTHETIC  DESIGN?  WHY 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  estlielic  (IcsiKii?  Why  «lo  the  pa<e-niakerM  in  the 
art  of  printinc  rave  over  a  specifi<'  face  of  type'.'  What  do  they  see  in  it?  Why  is  it  so  superlatively  plea  1234 

•ft  1 1  I'.>illt   (f.A.lHXl  l...\ver  ^a^e  alpluiliet.  108  iKiints.   Klgllres,  .OSS.? 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN? 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers 
in  the  art  of  printing  rave  over  a  specific  face  of  tvpe?  What  (io  they  see  in  it?  Why  is  it  so  super  1234 
HOW  IS  OXK  TO  ASSESS  AND  KVALUATE  A  TYPE  PA(  E  IN  TEKMS  OP  ITS  ESTHETIC  DESIGN? 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers 
in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so  super  1234 

•«■  7  I'diiit    l7AI'iil  I.uwer  case  all.lialiel.   IJO  i„,inl^     !■  iKUti--..  .OS') 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Wliy  do  tlie 
pace-makers  in  tlie  art  of  printing  rave  over  a  specific  face  of  tvpe?  What  do  tliey  see  in  1234 
HOW  IS  ONE  TO  ASSKSS  AND  KVALl  ATE  A  TYPE  FACE  I\  TEIiMS  OF  ITS  ESTHETIC 
How  is  one  to  assess  and  <'valiiate  a  type  face  in  terms  of  its  estlictir  design?  Why  do  tlip 
pacc-niak<'i's  in  tli<'  art  of  printing  rave  over  a  spcciiic  face  of  type?  Wliat  do  they  sec  in  12:54 

/'.■   Point  (7'.-Al'<l  Lower  case  alpliahet.  IJ4  points.  iMKiires.  .Of..'J 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  EST 
How  Is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  tvpe?  What  do  thev  se  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  EST 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  AVhy  do  tlie 
pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  se  1234 

K  Point  ISA-trt2l  Lower  case  alphaliet.  IJ'i  p"i"ts.   Fiiiiiie-..  .06J2 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ES 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do 
the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  t  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ES 
How  is  one  to  assess  and  evaluate  a  type  face  in  tei-nis  of  its  esthetic  design?  Why  do 
the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  1 1234 

9  Point  (9A1S«)  Lower  case  alpliahet.  l.W  iioints,  I-iMui.-s.  .069J 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  tlie  art  of  printing  rave  over  a  specific  face  of  ty  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  ty  1234 

10  Point  (10A45O)  Lower  case  aliiliahet.  14.t  p.iinls.   iMmires,  .0761 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  1234 


(LINOTYPE^ 

LIST    OF    CHARACTERS   AVAILABLE    IN    TWO-LETTER    FONTS 
WITH    ROMAN    AND    BOLD 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&.ECE 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 

abcdefghijklmnoi)qrstuvwxyz 
abcdefghijklmnopqrstuvwxyz 

12:-'!45(;789{)£ecEfiflffffiffl$ £,.:;-"?! "  .  .  .  (  )(a'm% 

1234r>67S90aeoefiflfTflRffl$  £,.:;-"?!-;—.  ()@lh% 

*tt1I§[]  Vs  1/4  %  1/2  %  •%  % 


*  Faces  indicated  by  asterisk  are  available  also  for  Teletypesetter  composition. 


765 


LINOTYPE  PARAGON  with  ITALIC 


■  6  Point 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN? 
WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  OF 


How  IS  ONE  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  design 
is  always  practical  design.  And  what  they  see  in  a 
good  type  design  is,  partly,  its  excellent  practical 
fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  exactly 
the  work  that  the  chair  has  to  do,  neither  clumsy 
and  thick,  nor  "skinny"  and  weak,  no  waste  of 
material  and  no  lack  of  strength.  And,  beyond 
that,  the  chair  may  have  been  made  by  a  man 
who  worked  out  in  it  his  sense  of  fine  shapes  and 
curves  and  proportions:  it  may  be,  actually,  a 
work  of  art.  The  same  thing  holds  for  shapes  of 
letters.  And  your  chair,  or  your  letter  (if  a  true 
artist  made  it)  will  have,  besides  its  good  looks, 
a  suitability  to  the  nth  degree  to  be  sat  in,  or 
stamped  on  paper  and  read.  That  explains,  in  a 
Hoiv  is  one  to  assess  and  evaluate  a  type  face  in 
tertns  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
(solid) 


List  of  Charact 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 
ABCDEFGHI.JKLMNOPQRSTUVM'XYZ&JECE 
abcdefghijklmnopqrstuvwxyz&.ece 
abcdefghiiklmnopqrstuvwxvzaeoefiflffffiffl  1234567890  $  £  , .:;-"?!-!  — 
abcdefgliijklmnopqrstuvw.vyzoeoefiflfjfflf)l  1234567890  $£,.:;-'■?!-—.  . 

Vs  %  %  %  %  %  % 
y«  Vi  %  Vz  %  %  % 


How  IS  ONE  to  assess  and  evaluate  a  type  face  m 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  design 
is  always  practical  design.  And  what  they  see  in  a 
good  type  design  is,  partly,  its  excellent  practical 
fitness  to  perform  Its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  exactly 
the  work  that  the  chair  has  to  do,  neither  clumsy 
and  thick,  nor  "skinny"  and  weak,  no  waste  of 
material  and  no  lack  of  strength.  And,  beyond 
that,  the  chair  may  have  been  made  by  a  man 
who  worked  out  in  it  his  sense  of  fine  shapes  and 
ctn-ves  and  proportions:  it  may  be,  actually,  a 
work  of  art.  The  same  thing  holds  for  shapes  of 
letters.  And  your  chair,  or  your  letter  (if  a  true 
artist  made  it)  will  have,  besides  its  good  looks, 
a  suitability  to  the  ?!th  degree  to  be  sat  in,  or 
stamped  on  paper  and  read.  That  explains,  in  a 

Cf7H<-  fnint  traded) 
s  in  TlvO'Lcttcr  Font 


.()@nD*ttll§[]% 
()@tt)  ttll§[]% 


Matri.r  Jnjurination  :  fiA^QO.  Lower  case  alphabet.  lOR  points.  FiRur 
ih.innel  magazine.  Code  word.  ZEMVU. 


's.  .O.^S3:  comma,  period  and  thin  space.  .0277.  Runs  in  90 


-(LINOTYPE -> 


7  Point 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE 
DESIGN?  WHY  DO  THE  PACE-MAKERS  IN 
How  IS  ONE  to  assess  and  evaluate  a  type  face 
in  terms  of  its  estlietic  design?  Why  do  the 
pace-maPcers  in  the  art  of  printing  rave  over 
a  specific  face  of  type?  What  do  they  see  in 
it?  Why  is  it  so  superlatively  pleasant  to 
their  eyes?  Good  design,  is  ahvays  practical 
design.  And  what  they  see  in  a  good  type  de- 
sign is,  partly,  its  excellent  practical  fi.ness 
to  perform  its  work.  It  has  a  "heft"  and  bal- 
ance in  all  of  its  parts  just  right  for  its  size, 
as  any  good  tool  has.  Your  good  chair  has  all 
of  its  parts  made  nicely  to  the  right  size  to 
do  exactly  the  work  that  the  chair  has  to  do, 
neither  clumsy  and  thick,  nor  "skinny"  and 
weak,  no  waste  of  material  and  no  lack  of 
strength.  And,  beyond  tliat,  th^  chair  may 
How  is  one  to  assess  and  evaluate  a  type  face 
in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over 

(on  scTrn  and  onc-liah  foint  body) 


A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC 
THE  ART  OF  PRINTING  RAVE  OVER  A  SP 
How  IS  ONE  to  assess  and  evaluate  a  type  face 
in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over 
a  specific  face  of  type?  What  do  they  see  in 
it?  Why  is  it  so  superlatively  pleasant  to 
their  eyes?  Good  design  is  always  practical 
design.  And  what  they  see  in  a  good  type  de- 
sign is,  partly,  its  excellent  practical  fitness 
to  perform  its  work.  It  has  a  "heft"  and  bal- 
ance in  all  of  its  parts  jtist  right  for  its  size, 
as  any  good  tool  has.  Your  good  chair  has  all 
of  its  parts  made  nicely  to  the  right  size  to 
do  exactly  the  work  that  the  chair  has  to  do, 
neither  clumsy  and  thick,  nor  "skinny"  and 
weak,  no  waste  of  material  and  no  lack  of 
strength.  And,  beyond  that,  the  chair  may 
have  been  made  by  a  man  who  worked  out 

(one  point  leaded) 


List  of  Characters  in  Tivo-Letter  Font 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^(3: 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&/ECE 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&.«CE 

abcdefghijklmnopqrstuvwxyzseoefiflfTfriffl  12.34.567890  $£,.':  ;-"?!-|— 

abcdefghijklmnopqrstuvivx'yzceoefififfffiffl  1234567890  $£,.:;-"?! .  . 

1/81/4%  1/2%%% 

1/8  1/4%  1/2%%  78 


(X 


)n)*ttll§[]% 
~>n>  tt11§[]% 


Matrix  Infornu 

cli.Tnnel  iti;iga/iiie-  .Snudlest  sIuk 


7A164.  r.nwer  CTse  alph.ibet.  120  points.  Figures.  .f).S9;  coiiima.  perind  and  thin  spare.  .0295.  Runs  in  90 
uliicli  this  face  will  cast  is  7;i  point.  Code  wind.  ZEMMO. 


766 


LINOTYPE  PARAGON  wilh  ITALIC 


7'/2  Point  = 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  EST 
DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER 
How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  estlietic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in 
it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  dcsif/n  is  ahvays  practical  de- 
sign. And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent  practical  fitness  to 
perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do 
exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and 
weak,  no  waste  of  material  and  no  lack  of  strength.  And,  beyond  that,  the  chair  may  have 
been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and  curves  and  pi-opor- 
tions:  it  may  be,  actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of  letters.  And 
your  chair,  or  your  letter  (if  a  true  artist  made  it)  will  have,  besides  its  good  looks,  a 
suitability  to  the  nth  degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That  explains,  in 
a  way,  why  the  experts  rave  over  the  fine  shapes  of  letters;  but  it  fails  to  explain  wherein 
the  shapes  are  fine.  If  you  .seek  to  go  fui'ther  with  the  inquiry,  theories  will  be  your  only 
answer.  Here  is  a  theory  that  the  proponent  thinks  may  have  sense  in  it:  Fine  type  let- 
ters were,  in  the  first  place,  copies  of  fine  written  letters.  Fine  written  letters  were  fine 
because  they  were  produced  in  the  most  direct  and  simple  way  by  a  tool  in  the  hands  of  a 
person  expert  in  its  use,  by  a  person,  moreover,  who  was  an  aitist,  i.e.,  a  per.son  equipped 
to  make  sound  judgments  about  lines,  curves,  proportions,  etc.  The  artist  of  that  moment 
when  printing  was  invented  who  furnished  the  fine  written  patterns  for  type  was  (luck- 
ily for  printing)  working  at  the  top  notch  of  a  fine  tradition  of  calligraphy.  He  was  mak- 
ing sound  judgments  about  lines  and  curves  and  proportions  of  letters.  He  had  resur- 
rected an  ancient  distinguished  style  of  writing  and  had  added  to  it  the  quality  of  his  own 
fine  taste.  His  letters  flowed  from  his  pen  easily  and  simply,  without  any  tricks  or  affec- 
tations or  extraneous  embellishments.  He  was  simple  enough  and  artist  enough  to  let  the 
implement  itself  (and  his  facile  hand)  shape  the  product.  The  fine  qualities  of  this  art- 
ist's letter-forms  were  carried  over  into  the  metal  types  and  sealed  up  there,  like  butter- 
flies in  amber.  It  is  argued,  however,  that  the  ascription  of  beauty  to  type  letters  by  this 
route  {i.e.,  via  the  standards  of  calligraphy)  is  false  logic.  If  the  natural  and  simple  and 
Hoiv  is  one  to  assess  and  evahiate  a  type  face  in  teryyis  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  .s-cp  in 
it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  ahrays  jtractical  de- 

(Iwo  pfliut  leaded) 

How  IS  ONE  to  assess  and  evaluate  a  type  How  is  one  to  assess  and  evaluate  a  type 

face  in  terms  of  its  esthetic  design?  Why  face  in  terms  of  its  esthetic  design?  Why 

do  the  pace-makers  in  the  art  of  printing  do  the  pace-makers  in  the  art  of  printing 

rave  over  a  specific  face  of  type?  What  do  ^ave  over  a  specific  face  of  type?  What  do 

they  see  in  it?  Why  is  it  so  .superlatively  ^^  -^^  j^,  ^^j^     j,.  i^        superlatively 

p  easant  to  their  eyes?  Good  design  is  al-        ,   -        *  *     *i,   ■       "     o  ^     ^    j     •       •      , 

ways  practical  design.  And  what  they  see  Pleasant  to  their  eyes?  Good  design  is  al- 

in  a  good  tvpe  design  is,  partly,  its  excel-  ways  practical  design.  And  what  they  .see 

lent  practical  fitness  to  perform  its  work.  m  a  good  type  design  is,  partly,  its  excel- 

It  has  a  "heft"  and  balance  in  all  of  its  lent  practical  fitness  to  perform  its  work, 

parts  just  right  for  its  size,  as  any  good  tool  It  has  a  "heft"  and  balance  in  all  of  its 

has.  Your  good  chair  has  all  of  its  parts  parts  just  right  for  its  size,  as  anv  good  tool 

made  nicely  to  the  right  size  to  do  exactly  ^3^    your  good  chair  has  all  of  its  parts 

the  work  that  the  chair  has  to  do,  neither  ,^  j^  j^j^.^,  ^^  ^^  ^^^  j  ^^  ,j^,  exactlv 
clumsy  and  thick,  nor    skinny    and  weak.  -  ^ 

I  si'lidi 


txiiiit  leaded! 
JA.<:t  of  Characters  in  Tivo-I.ettei  h''<tit 


ABCDEFGHIJKLMNOPQRSTUVWXYZ&.'ECE 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&,T<:(E 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&.^CE 

abcdefghiiklmnopqrstuvwxvzaecefiflffffiffl  1234567890  $£,.:;-"?!-!—       .  .  .OCTrlt) 
ahcdefghi'jklninopcjrstuviv.vyzcca'fififfffifn  12.34567890  $£,.:;-"?! .  .  .        OCTiTS 

*tt1I§[]%  l/8V4%l/25/8%% 

Matrix  InlrnnatioH  :  7';.A.-'II.   I.nwer  case  .-ilphaliet,  IZ4  points.   Figures.  .IK.JJ:  iminii.-i.  pcricd  .-nul  tliiii  sii.ne.    Il.tll,   Rnii-- 
ilMiiiit-l  niMua/iiie.  Cede  w.nd.  ZU)VI. 


7 


1/2 


767 


LINOTYPE  PARAGON  with  ITALIC 


8 


=  8  Point 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ES 
DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OV 
How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Wiiy  do 
the  pace-malcers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  Wliat  do  tliey 
see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  prac- 
tical design.  And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent  practical 
fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for 
its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the 
right  size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick, 
nor  "skinny"  and  weak,  no  waste  of  material  and  no  lack  of  strength.  And,  beyond 
that,  the  chair  may  have  been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine 
shapes  and  curves  and  proportions:  it  may  be,  actually,  a  work  of  art.  The  same  thing 
holds  for  shapes  of  letters.  And  your  chair,  or  your  letter  (if  a  true  artist  made  it)  will 
have,  besides  its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped  on 
paper  and  read.  That  explains,  in  a  way,  why  the  experts  rave  over  the  fine  shapes  of 
letters;  but  it  fails  to  explain  wherein  the  shapes  are  fine.  If  you  seek  to  go  further 
with  the  inquiry,  theories  will  be  your  only  answer.  Here  is  a  theory  that  the  propo- 
nent thinks  may  have  sense  in  it:  Fine  type  letters  were,  in  the  first  place,  copies  of 
fine  written  letters.  Fine  written  letters  were  fine  because  they  were  produced  in  the 
most  direct  and  simple  way  by  a  tool  in  the  hands  of  a  person  expert  in  its  use,  by  a 
person,  moreover,  who  was  an  artist,  i.e.,  a  person  equipped  to  make  sound  judg- 
ments about  lines,  curves,  proportions,  etc.  The  artist  of  that  moment  when  printing 
was  invented  who  furnished  the  fine  written  patterns  for  type  was  (luckily  for  print- 
ing) working  at  the  top  notch  of  a  fine  tradition  of  calligraphy.  He  was  making  sound 
judgments  about  lines  and  curves  and  proportions  of  letters.  He  had  resurrected  an 
ancient  distinguished  style  of  writing  and  had  added  to  it  the  quality  of  his  own  fine 
taste.  His  letters  flowed  from  his  pen  easily  and  simply,  without  any  tricks  or  affecta- 
tions or  extraneous  embellishments.  He  was  simple  enough  and  artist  enough  to  let 
How  is  one  to  assess  and  evaluate  a  type  face  in  tenns  of  its  esthetic  design?  Why  do 
the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they 
see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  prac- 

(two  point  leaded) 

How  IS  ONE  to  assess  and  evaluate  a  type  How  is  one  to  assess  and  evaluate  a  type 

face  in  terms  of  its  esthetic  design?  Why  face  in  terms  of  its  esthetic  design?  Why 

do  the  pace-makers  in  the  art  of  printing  do  the  pace-makers  in  the  art  of  printing 

rave  over  a  specific  face  of  type?  What  do  j.^ve  over  a  specific  face  of  tvpe?  What  do 

they  see  in  it?  Why  is  it  so  superlatively  tu,^,^  or^^  i,^  ,-+9  wn-^^r  --.c  4t  c,^v!,,,„vo^t;,,^i,r 

pleasant  to  their  eyes?  Good  design  i.  al-  ^^^^  ^'^^  ^^  i^'  ^hy  is  it  so  superlatively 

ways  practical  design.  And  what  they  see  Pleasant  to  their  eyes?  Good  design  is  al- 

in  a  good  type  design  is,  partly,  its  excel-  ways  practical  design.  And  what  they  see 

lent  practical  fitness  to  perform  its  work,  m  a  good  type  design  is,  partly,  its  excel- 

It  has  a  "heft"  and  balance  in  all  of  its  lent  practical  fitness  to  perform  its  work, 

parts  just  right  for  its  size,  as  any  good  it  has  a  "heft"  and  balance  in  all  of  its 

tool  has.  Your  good  chair  has  all  of  its  parts  just  right  for  its  size,  as  anv  good 

parts  made  nicely  to  the  right  size  to  do  tool  has.  Your  good  chair  has  all  of  its 
exactly  the  work  that  the  chair  has  to  do  .^g  j^^de  nicely  to  the  right  size  to  do 

neither  clumsy  and  thick,  nor    skinny  '    ^^tlv  the  work  that  the  chair  has  tn  dn 

and  weak,  no  waste  of  material  and  no  exactly  tne  woi  k  tnat  tne^cnair  nas  to  ao, 

(solid) 

List  of  Characters  in  Tivo-Lettcr  Font 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&.^CE 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 

abcdefghijklmnopqrstuvwxyzaecefiflffffiflfl  1234567890  $£,.:;"-? !-|—       .  .  .  ()@lb 

abcdefghijklmnopqrstiiviv.ryzceoefififfffiffl  1234567890  $£,.:;"-?! .  .  .       ()@n) 

*tt11§  [  ]  %  Vs  V*  %  ¥2  %  %  % 

ttlli  [  ]  %    Vs  ¥4  %  1/2  %  %  % 
Matrix  I}xiorwation :  8A4fi4.  T.ower  ca<;e  alphabet.  129  points.  Figures,  .0622;  comma,  period  and  thin  space,  .0311.  Rims  in  90 
channel  magazine.  Code  word.  ZENAC. 


768 


LINOTYPE  PARAGON  wilh  ITALIC 


9  Point  = 

HOW  IS  ONE  TO  ASSESS  AND  EVALITATE  A  TYPE  FACE  IN  TERMS  OF 
ITS  ESTHETIC  DESIGN'^  WHY  DO  TPIE  PACE-MAKERS  IN  THE  ART  OF 
How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type? 
What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good 
design  is  always  practical  design.  And  what  they  see  in  a  good  type  design  is, 
partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has  a  "heft"  and  bal- 
ance in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair 
has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly  the  work  that  the 
chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of 
material  and  no  lack  of  strength.  And,  beyond  that,  the  chair  may  have  been 
made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and  curves  and  pro- 
portions: it  may  be,  actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of 
letters.  And  your  chair,  or  your  letter  (if  a  true  artist  made  it)  will  have,  besides 
its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped  on  paper 
and  read.  That  explains,  in  a  way,  why  the  experts  rave  over  the  fine  shapes  of 
letters;  but  it  fails  to  explain  wherein  the  shapes  are  fine.  If  you  seek  to  go  fur- 
ther with  the  inquiry,  theories  will  be  your  only  answer.  Here  is  a  theory  that 
the  proponent  thinks  may  have  sense  in  it:  Fine  type  letters  were,  in  the  first 
place,  copies  of  fine  written  letters.  Fine  written  letters  were  fine  because  they 
were  produced  in  the  most  direct  and  simple  way  by  a  tool  in  the  hands  of  a  per- 
son expert  in  its  use,  by  a  person,  moreover,  who  was  an  artist,  i.e.,  a  person 
equipped  to  make  sound  judgments  about  lines,  curves,  proportions,  etc.  The 
artist  of  that  moment  when  printing  was  invented  who  furnished  the  fine  writ- 
ten patterns  for  type  was  (luckily  for  printing)  working  at  the  top  notch  of  a 
fine  tradition  of  calligraphy.  He  was  making  sound  judgments  about  lines  and 
curves  and  proportions  of  letters.  He  had  resurrected  an  ancient  distinguished 
style  of  writing  and  had  added  to  it  the  quality  of  his  own  fine  taste.  His  letters 
flowed  from  his  pen  easily  and  simply,  without  any  tricks  or  affectations  or  ex- 
traneous embellishments.  He  was  simple  enough  and  artist  enough  to  let  the 
implement  itself  (and  his  facile  hand)  shape  the  product.  The  fine  qualities  of 
this  artist's  letter-forms  were  carried  over  into  the  metal  types  and  sealed  up 
there,  like  butterflies  in  amber.  It  is  argued,  however,  that  the  ascription  of 
beauty  to  type  letters  by  this  route  ( i.e.,  via  the  standards  of  calligi^aphy )  is  false 
logic.  If  the  natural  and  simple  and  tastefully  controlled  use  of  an  implement 
produces  a  fine  result,  why  not  start  with  the  process  of  founding  type  instead  of 
with  the  process  of  writing  with  a  pen?  Why  not  cut  punches  and  strike  matrices 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  estlietic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type? 
What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good 

f  tlVD  puint  traded  I 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&.^CE 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&.-ECFJ 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&.^CE 

abcdefghijklmnopqrstuvwxyzEEoefiflffflfiffl  1234567890  $£,.:;-"?!-!—       .  .  .  () 
abcdefghijklmnopqrstuvw.vyzccoefiMffiffl  1234567S90  $  £ ,.:;-"?! ...       () 

f?/)tb  *t$1I§  []  %   1/8  V4%y2%3/4% 

(Tim  ftu[]%  ^^f4%^i-'5-«%% 

Matrix  hifi'ruuUiou  :  9A1S'').  Lower  case  alphaliel.  \M>  \nnnX^.  Figures.  .0fi9J;  comma,  iierind  aiui  tinii  spa..-.  0,M6  Uiin-^  in  90 
cliamiel  itiaga/itie.  ('i)de  word,  ZEZAB. 


769 


LINOTYPE  PARAGON  with  ITALIC 


10 


-  10  Point 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS 
OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  A 
How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design.  And  what  they  see  in  a  good 
type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its  work.  It 
has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good 
tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to 
do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor 
"skinny"  and  weak,  no  waste  of  material  and  no  lack  of  strength.  And,  be- 
yond that,  the  chair  may  have  been  made  by  a  man  who  worked  out  in  it  his 
sense  of  fine  shapes  and  curves  and  proportions:  it  may  be,  actually,  a  work 
of  art.  The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  let- 
ter (if  a  true  artist  made  it)  will  have,  besides  its  good  looks,  a  suitability  to 
the  7ith  degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That  explains,  in 
a  way,  why  the  experts  rave  over  the  fine  shapes  of  letters;  but  it  fails  to  ex- 
plain wherein  the  shapes  are  fine.  If  you  seek  to  go  further  with  the  inquiry, 
theories  will  be  your  only  answer.  Here  is  a  theory  that  the  proponent  thinks 
may  have  sense  in  it:  Fine  type  letters  were,  in  the  first  place,  copies  of  fine 
written  letters.  Fine  written  letters  were  fine  because  they  were  produced  in 
the  most  direct  and  simple  way  by  a  tool  in  the  hands  of  a  person  expert  in  its 
use,  by  a  person,  moreover,  who  was  an  artist,  i.e.,  a  person  equipped  to  make 
sound  judgments  about  lines,  curves,  proportions,  etc.  The  artist  of  that  mo- 
ment when  printing  was  invented  who  furnished  the  fine  written  patterns 
for  type  was  ( luckily  for  printing )  working  at  the  top  notch  of  a  fine  tradi- 
tion of  calligraphy.  He  was  making  sound  judgments  about  lines  and  curves 
and  proportions  of  letters.  He  had  resurrected  an  ancient  distinguished  style 
of  writing  and  had  added  to  it  the  quality  of  his  own  fine  taste.  His  letters 
flowed  from  his  pen  easily  and  simply,  without  any  tricks  or  affectations  or 
extraneous  embellishments.  He  was  simple  enough  and  artist  enough  to  let 
the  implement  itself  ( and  his  facile  hand )  shape  the  product.  The  fine  quali- 
ties of  this  artist's  letter-forms  were  carried  over  into  the  metal  types  and 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their 

(tzvo  point  leaded) 
List  of  Cliaractcrs  in  Two-Lrttev  Font 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&.^CE 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 

abcdefghijklmnopqrstuvwxyzseoefiflffffiffi  1234567890  $£,.:;-"? !-|— 

abcdefghijklmnopqrstuvwxyza^oefiflmffi  1234567S90  $£ ,.:;-"?! 

.  .  .()@Tb*t$1I^[]%  V8i/4%y2%%% 

()(a>m     ttf§[]%    V8V4¥8V254i¥4V8 

Matrix  Informatimt  ■  10A44ft.  Lcwer  case  alphabet.  146  points.  Figures,  .0761;  conmi.'i.  period  and  thin  space.  .038.  Runs  in  90 
channel  maKa/ine.  Cni\e  word.  ZEZAN. 


770 


LINOTYPE  PARAGON  wilh  PARAGON  BOLD 


51/2  Point 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  1< 
DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING 
How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  estlietic  design?  Wliy  do  the  pace-mali- 
ers  in  the  art  of  printing  rave  over  a  specific  face  of 
type?  Wliat  do  they  see  in  it?  Wliy  is  it  so  superla- 
tively pleasant  to  their  eyes?  Good  design  is  always 
practical  design.  And  what  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fitness  to 
perform  its  work.  It  has  a  "heft"  and  balance  in  all 
of  its  parts  just  right  for  its  size,  as  any  good  tool 
has.  Your  good  chair  has  all  of  its  parts  made  nicely 
to  the  right  size  to  do  exactly  the  work  that  the 
chair  has  to  do,  neither  clumsy  and  thick,  nor 
"skinny"  and  weak,  no  waste  of  material  and  no 
lack  of  strength.  And,  beyond  that,  the  chair  may 
have  been  made  by  a  man  who  worked  out  in  it  his 
sense  of  fine  shapes  and  cvunes  and  proportions:  it 
may  be,  actually,  a  work  of  art.  The  same  thing 
holds  for  shapes  of  letters.  And  your  chair,  or  your 
letter  (if  a  true  artist  made  it)  will  have,  Ijesides  its 
good  looks,  a  suitability  to  the  nth  degree  to  be  sat 
in,  or  stamped  on  paper  and  read.  That  explains,  in 
a  way,  why  the  experts  rave  over  the  fine  shapes  of 
letters;  but  it  fails  to  explain  wherein  the  shapes  are 
fine.  If  you  seek  to  go  further  with  the  inquiry,  theo- 
ries will  be  your  only  answer.  Here  is  a  theory  that 
the  proponent  thinks  may  have  sense  in  it:  Y\ne 
type  letters  were,  in  the  first  place,  copies  of  fine 
written  letters.  Fine  written  letters  were  fine  be- 
How  is  one  to  assess  and  evaluate  a  t.vpe  fare  in 
terms  of  its  estiii'tir  design?  Wliy  do  tlie  pa<'e-inak- 
ers  in  tlie  ai't  of  printing  rave  over  a  specific  face  of 

List  of  i'lnnactcis  in 

AnCDEFGHI.JKLMNOP 
ABri>EF(;HI.IKI,>IN()l' 

abcdefghijklmnop<|rstuvwxvz£euefiflffffiffl  12;M.^67,S!)0 
abrdefKhi,iklninopcirstiivw\yza'<i?tinntfitti  12.'54.';B7S!)(I 


Matrix  I)iformnli,iii :  S'jAdr,.  L.iwer  c.-i 
channel  niaKa/ine.  ("ncle  wwinl.  Xll)!!!. 


aliilialiet.    Idl   ]•■ 


ACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY 
RAVE  OVER  A  SPECJFIC  FACE  OF  TYPE?  WHAT 
How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace-mak- 
ers in  the  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it  so  superla- 
tively pleasant  to  their  eyes?  (iood  design  is  alway.s 
practical  design.  And  what  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fitness  to 
perform  its  work.  It  has  a  "heft"  and  balance  in  all 
of  its  parts  just  right  for  its  size,  as  any  good  tool 
has.  Your  good  chair  has  all  of  its  parts  made  nicely 
to  the  right  size  to  do  exactly  the  work  that  the 
chair  has  to  do,  neither  clumsy  and  thick,  nor 
".skinny"  and  weak,  no  waste  of  material  and  no 
lack  of  strength.  And,  ijeycjnd  that,  the  chair  may 
have  been  made  Ijy  a  man  who  worked  out  in  it  his 
sense  of  fine  shapes  and  curves  and  proportions:  it 
may  be,  actually,  a  work  of  art.  The  same  thing 
holds  for  shapes  of  letters.  And  your  chair,  or  your 
letter  {if  a  true  artist  made  it)  will  have,  besides  its 
good  looks,  a  suitability  to  the  nth  degree  to  be  sat 
in,  or  stamped  on  paper  and  read.  That  explains,  in 
a  way,  why  the  experts  rave  over  the  fine  shapes  of 
letters;  hut  it  fails  to  explain  wherein  the  shapes  are 
fine.  If  you  seek  to  go  further  with  the  in(iuiry,  theo- 
ries will  be  your  only  answer.  Here  is  a  theory  that 
the  proponent  thinks  may  have  sense  in  it:  Fine 
type  letters  were,  in  the  first  place,  copies  of  fine 
(,:ii,-  point  Iradi-d) 
1   Tu'o-l.,-ltri   I-„>lt 

QRSTL'N'WXYZ&.^-XE 

(jusir  vw.\  \7.&.VAV. 

.$,£•, .:;--'?!-|—        .  .  .  ()  W  lb' ttTSlP'r    '/a 'A^'a  Va^^i's 
.$,€,.:;•"?!-(—...        ()@  n)*t*1I«[]%   '.»  Vi  %V2%»i  Th 

•iKiiies.    (1^0:  Lniiima.  ix-in.d  .incl  lliin  si..iie.   .I1J77.    Kvnis  in  'lO 


-(LINOTYPE"  > 


6  Point  " 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TVi'E  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN? 
WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  OF 


How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  desiRii 
i.s  always  practical  design.  And  what  they  see  in  a 
good  type  design  is,  partly,  its  e.xcellent  practical 
fitness' to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  exactly 
the  work  that  the  chair  has  to  do.  neither  clumsy 
and  thick,  nor  "skinny"  and  weak,  no  waste  of 
material  and  no  lack  of  strength.  And,  beyond 
that,  the  chair  may  liave  been  made  by  a  man 
who  worked  out  in  it  his  sense  of  fine  shapes  and 
cin-ves  and  proportions:  it  may  be,  actually,  a 
work  of  art.  The  same  thing  holds  for  shapes  of 
letters.  And  yoin-  chair,  or  your  letter  (if  a  true 
artist  made  it)  will  have,  besides  its  good  looks, 
a  suitability  to  the  nth  degree  to  be  sat  in,  or 
stamped  on  paper  and  road.  That  explains,  in  a 
way,  why  the  experts  rave  over  the  fine  shapes 
of  letters;  but  it  fails  to  explain  wherein  the 
How  is  one  to  assess  and  evaluate  a  type  fare  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 


List  oi  Charact 

ARCDEFGHIJKLMNOPQRSTUVWXYZ&.^CE 
.VIUI)EPGHI.IKI,M\<)IM)KSTIVWXV/,&.K(K 

abcdefghiik!nni()]i(|rsluvwxvzBenefifin'Hi(ll  1  2:M."ii;T.S!i()  .SC..::-'".'I 

abcdefghi.iklninopiirslnvwxy/.a'nfiflfrilim  I2;!4.->(>7S!tO  .St,.:;-"?:- —    . 

%  14  %  Mi  %  •';.  % 


How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  spec'itic 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Ciood  design 
is  always  practical  design.  And  what  they  see  in  a 
good  type  design  is.  partly,  its  e.xcellent  practical 
fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Y'oin-  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  exactly 
the  work  that  the  chair  has  to  do,  neither  clumsy 
and  thick,  nor  "skinny"  and  weak,  no  waste  of 
material  and  no  lack  of  strength.  And,  beyond 
that,  the  chair  may  have  been  made  by  a  man 
who  worked  out  in  it  his  sense  of  fine  shapes  and 
curves  and  pi'oportions:  it  may  be,  actually,  a 
work  of  art.  The  same  thing  holds  for  shai)es  of 
letters.  And  your  chair,  or  your  letter  (if  a  true 
artist  made  it)  will  have,  besides  its  good  looks, 
a  suitaliility  to  the  nth  degree  to  be  sat  in.  or 
stamped  on  paper  and  i^ead.  That  exi)lains.  in  a 
wa>',  why  the  exi)crts  rave  ovi'r  the  fine  shap(>s 
of   letters:    liut    it    fails   to   explain    whei'ein    the 

.1  ill  rwi'-I.cltii   l-.nit 


.  ( )  frt  lb  *  i  i '  §  r  1  % 

()@11.*t+1ISn% 


Maliix  Into 
clianiK-I  niaK 


.1/     f.A.iXX.    I.cnvi-r  i:is< 

CmIc  wokI.  zkmi-z. 


:ill)lialiet.   1II.S  iii.inls,    Fikmic 


771 


LINOTYPE  PARAGON  with  PARAGON  BOLD 


71/2 


■  7  Point 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC 
DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SP 


How  is  one  to  assess  and  evaluate  a  type  face 
in  terms  of  its  esthetic  design?  Why  do  tlie 
pace-malvers  in  tlie  art  of  printing  rave  over 
a  specific  face  of  type?  Wliat  do  tliey  see  in 
it?  Why  is  it  so  superlatively  pleasant  to 
their  eyes?  Good  design  is  always  practical 
design.  And  what  they  see  in  a  good  type  de- 
sign is,  partly,  its  excellent  practical  fitness 
to  perform  its  work.  It  has  a  "heft"  and  bal- 
ance in  all  of  its  parts  just  right  for  its  size, 
as  any  good  tool  has.  Your  good  chair  has  all 
of  its  parts  made  nicely  to  the  right  size  to 
do  exactly  the  work  that  the  chair  has  to  do, 
neither  clumsy  and  thick,  nor  "skinny"  and 
weak,  no  waste  of  material  and  no  lack  of 
strength.  And,  beyond  that,  the  chair  may 
have  been  made  tiy  a  man  who  worked  out 
How  is  one  to  assess  and  evalnate  a  type  face 
in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over 

(nn  seven  and  uiie-half  puint  body) 

List  of  Characters  in  Two-Letter  Font 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&yECE 
ABCDEPGHIJKLMNOPQRSTUVWXYZ&.*)CE 

abcdefghijklmnopqrstuvwxyzseoefiflfffRffl  1234567890  $£,. :;-"?!-|— 
abcdefghijklmnopqrstuvwxyzajoeflflffffifn  1234567890  $£,.:;-"?!-|—    .  . 

Matrix  Injormation  :  7A162.  Lower  case  alphabet.  120  points.  Figures,  .059;  comma,  period  and  thin  space, 
channel  magazine.  Smallest  slug  on  which  this  face  will  cast  is  7J4  point.  Code  word,  ZEMLI. 


How  is  one  to  assess  and  evaluate  a  type  face 
in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over 
a  specific  face  of  type?  What  do  they  see  in 
it?  Why  is  it  so  superlatively  pleasant  to 
their  eyes?  Good  design  is  ahvays  practical 
design.  And  wliat  tliey  see  in  a  good  type  de- 
sign is,  partly,  its  excellent  practical  fitness 
to  perform  its  work.  It  has  a  "heft"  and  bal- 
ance in  all  of  its  parts  just  right  for  its  size, 
as  any  good  tool  has.  Your  good  chair  has  all 

lone  point  leaded) 

How  is  one  to  assess  and  evaluate  a  type  face 
in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  tlie  art  of  printing  rave  over 
a  specific  face  of  type?  What  do  they  see  in 
it?  Why  is  it  so  superlatively  pleasant  to 
their  eyes?  Good  design  is  always     g  j  p  q  y 


(set  with  long  descende 


eight  point  body) 


()@lb*tn§[]% 

()@n>*ttll§[]% 


.0295.  Runs  in  90 


(LINOTYPE"'"') 

■  7V2  Point 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  EST 
DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER 


How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  type?  What  do 
they  see  in  it?  Why  is  it  so  superlatively 
pleasant  to  their  eyes?  Good  design  is  al- 
ways practical  design.  And  what  they  see 
in  a  good  type  design  is,  partly,  its  excel- 
lent practical  fitness  to  perform  its  work. 
It  has  a  "heft"  and  balance  in  all  of  its 
parts  just  right  for  its  size,  as  any  good  tool 
has.  Your  good  chair  has  all  of  its  parts 
made  nicely  to  the  right  size  to  do  exactly 
the  work  that  the  chair  has  to  do,  neither 
clumsy  and  thick,  nor  "skinny"  and  weak, 
no  waste  of  material  and  no  lack  of  strength. 
And.  beyond  that,  the  chair  may  have  been 
How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design?  VVhy 
do  the  pace-makers  in  the  art  of  printing 

(solid) 


How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  type?  What  do 
they  see  in  it?  Why  is  it  so  superlatively 
pleasant  to  their  eyes?  Good  design  is  al- 
ways practical  design.  And  what  they  see 
in  a  good  type  design  is,  partly,  its  excel- 
lent practical  fitness  to  perform  its  work. 
It  has  a  "heft"  and  balance  in  all  of  its 
parts  just  right  for  its  size,  as  any  good  tool 
has.  Your  good  chair  has  all  of  its  parts 
made  nicely  to  the  right  size  to  do  exactly 
the  work  that  the  chair  has  to  do,  neither 
clumsy  and  thick,  nor  "skinny"  and  weak, 
no  waste  of  material  and  no  lack  of  strength. 
And,  beyond  that,  the  chair  may  have  been 
made  by  a  man  who  worked  out  in  it  his 

(one  point  leaded) 

in  'I  uut-Lettrr  Font 


List  of  Charade 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 
ABCDEFGHI.JKLMNOPQRSTUVWXYZ&.^CE 

abcdefghijklmnopqrstuvwxyzaeoefiflffffiffl  1234567890  $£,.:;-"?!-l—       .  .  .()(?/'» 
abcdefghijklmnopqrstuvwxyzaeflefiflffffiflfl  1234.567890  $  £ ,.:;-"?!-]— ...        ()@  lt> 

*t1:1I§[l%  l/8l43/8l/2%%7/8 
*t*'18[]%  1/8^3/81/25/83/4% 


Matrix  Injormatioti :  7K'A1S.  I-ower  case  alphabet.  124  points.  Figures, 
channel  magazine.  Code  word.  ZIDYA. 


.0622;  comma,  period  and  thin  space.  .0311.  Runs  i 


772 


LINOTYPE  PARAGON  with  PARAGON  BOLD 


8  Point  ■ 

HOW  IS  ONR  TO  ASSESS  AND  EVALUATE  A  TYPE  EACE  IN  TERMS  OF  ITS  ES 

DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OV 

How  is  one  to  assess  and  evaluate  a  type  How  is  one  to  assess  and  evaluate  a  type 

face  in  terms  of  its  esthetic  design?  Why  face  in  terms  of  its  esthetic  design?  Why 

do  the  pace-makers  in  the  art  of  pnntnig  do  the  pace-makers  in  the  art  of  printing 

rave  over  a  specif^^c  face  of  type !  What  do  ,.^^,^  ^^^,.  ^       .(.jfi,.  f.,^^  ^f  ^        ,  ^j^,,^  ^, 

they  see  m  It?  Whv  is  it  so  superlatively  ti,,,,,  ,.,  ^  ;„  :+9  iin,     ■    •*  i   ^-      i 

pleasant  to  their  eVos:>  Good  design  is  al-  ^'^^-^  «^^   "  ^  '  Wh.V  is  it  so  superlatively 

ways  practical  dosigii.  And  what  they  see  Pl^^asant  to  then-  ey(>s'?  Good  design  is  al- 

in  a  good  tyi)e  design  is,  partly,  its  excel-  "'<«>'«  practical  design.  And  what  t  hey  see 

lent  practical  fitness  to  perform  its  work.  in  a  good  type  design  is,  partly,  its  excel- 

It  has  a  "heft"  and  balance  in  all  of  its  lent  practical  fitness  to  perform  its  work, 

parts  just  right  for  its  size,  as  any  good  It  has  a  "heft"  and  balance  in  all  of  its 

tool  has.  Your  good  chair  has  all  of  its  pai-ts  just  right  for  its  size,  as  any  good 

parts  made  nicely  to  the  right  size  to  do  ^ol  has.  Your  good  chair  has  all  of  its 
exactly  the  work  that  the  chair  has  to  do,  .  ,    nicelv  to  the  rieht  si7P  to  do 

neither  clumsy  and  thick,  nor  "skinnv"  P^i^^^  mf"e  niceiy  to  tne  light  size  to  do 

and  weak,  no  "waste  of  material  and  no  exactly  the  work  that  the  chair  has  to  do, 

How  is  one  to  assess  and  evaluate  a  tvi>e  neither  clumsy  and  thick,  nor  "skinny" 

face  in  terms  of  its  estlieUc  design?  Why  and  weak,  no  waste  of  material  and  no 

do  the  pace-makers  in  the  art  of  printing  lack  of  strength.  And,  beyond  that,  the 

(sniid)  I  "III-  p.nni  1,-iidrd) 

List  of  Chni-iictri  .1  in  Tn'o-Lrttrr  Font 

abcdefgiiijklmnopqkstuvwxyz&/E;g<] 
abci)KF(;hijklmnopqrstuvwxyz«s..t^:<k 

abcdefghijklmnopqrstuvwxyzaea>fifin'fRfii  VI?,  loHTsno  $£  ,.:;-"?!-| —       . .  .  ()  (<iVb 
aI)edetghi.jklmnop<|istiivwx'yziea'fiflttHilH  I2;{i.->(i7H!»0  $.£,.:;-"?!-| — ..  .        ()@!T> 

*tn§  [  1  %  Vs  1^  %  1/2  %  %  % 

Matrix  Infoi  iiuitiini     XA-4(.J.   I.nwer  case  alplialict,   12')  iMiints.    FiKurcs.  .Uf-,22:  inirinia.  iicrii.d  anil  lliiii  sii.i,  .-.    (Ull     Runs  in  'III 
ili.ninel  ni.ma/ine,  l'..de  word,  ZEMYI. 


C      LINOTYPE    ") 

9  Point  = 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  EACE  IN  TERMS  OF 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type? 
What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good 
design  is  always  practical  design.  And  what  they  see  in  a  good  type  design  is, 
partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has  a  "heft"  and  bal- 
ance in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair 
has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly  the  work  that  the 
chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of 
material  and  no  lack  of  strength.  And,  beyond  that,  the  chair  may  have  been 
made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and  curves  and  pro- 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type? 
What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good 

(ttvii  fi'iiil  li-ad<-dl 
I  i.\l  of  Cliar<ulfi.s  III  Tuu'-I.rtirr  lunil 

ABCDEFGHI.IKLMNOPQRSTUVWXYZ&.?i!CE 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&/ECE 

abcdefghijklninopqi'stuvwxyztecefifltTfhffl  12.'54r)(;TSi)()  $  \i  . 
abcdefghijklmnopqrstuvwxyzaecefifllTffiffl  1 2;>4r>(i78;>0  .*>  €. 

@  m*ttT|i?[]  %  v«  1/4  %  1/2  %  %  % 

Miitii.r  hiformatioii  :  9A1SX.   I.invi-r  rase  aliilialiet.   Lib  pmiits     Mmuips.  JIu'iJ  :  ...iniii.i.  pen. id  .1 
chamu-l  iiiaKa/ine.  C.de  wnnl.  ZKZ.MI. 


._.'7|_ 
L'">'— 


.0 
0 


8 


773 


LINOTYPE  PARAGON  with  PARAGON  BOLD 


10 


=  10  Point 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS 
OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  A 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design.  And  what  they  see  in  a  good 
type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its  work.  It 
has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good 
tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to 
do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor 
"skinny"  and  weak,  no  waste  of  material  and  no  lack  of  strength.  And,  be- 
yond that,  the  chair  may  have  been  made  by  a  man  who  worked  out  in  it  his 
sense  of  fine  shapes  and  curves  and  proportions:  it  may  be,  actually,  a  work 
of  art.  The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  let- 
ter (if  a  true  artist  made  it)  will  have,  besides  its  good  looks,  a  suitability  to 
the  nth  degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That  explains,  in 
a  way,  why  the  experts  rave  over  the  fine  shapes  of  letters;  but  it  fails  to  ex- 
plain wherein  the  shapes  are  fine.  If  you  seek  to  go  further  with  the  inquiry, 
theories  will  be  your  only  answer.  Here  is  a  theory  that  the  proponent  thinks 
may  have  sense  in  it:  Fine  type  letters  were,  in  the  first  place,  copies  of  fine 
written  letters.  Fine  written  letters  were  fine  because  they  were  produced  in 
the  most  direct  and  simple  way  by  a  tool  in  the  hands  of  a  person  expert  in  its 
use,  by  a  person,  moreover,  who  was  an  artist,  i.e.,  a  person  equipped  to  make 
sound  judgments  about  lines,  curves,  proportions,  etc.  The  artist  of  that  mo- 
ment when  printing  was  invented  who  furnished  the  fine  written  patterns 
for  type  was  (luckily  for  printing)  working  at  the  top  notch  of  a  fine  tradi- 
tion of  calligraphy.  He  was  making  sound  judgments  about  lines  and  curves 
and  proportions  of  letters.  He  had  resurrected  an  ancient  distinguished  style 
of  writing  and  had  added  to  it  the  quality  of  his  own  fine  taste.  His  letters 
flowed  from  his  pen  easily  and  simply,  without  any  tricks  or  affectations  or 
extraneous  embellishments.  He  was  simple  enough  and  artist  enough  to  let 
the  instrument  itself  (and  his  facile  hand)  shape  the  product.  The  fine  quali- 
ties of  this  artist's  letter-forms  were  carried  over  into  the  metal  types  and 
sealed  up  there,  like  butterflies  in  amber.  It  is  argued,  however,  that  the 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their 

(fM'o  foii'l  leaded) 
List  oj  Characters  in  Two-Letter  Font 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 

abcdefghijklmnopqrstuvwxyzaeoefiflffffiffl  1234567890  $£,.:;-"?!- 
abcdefghijklmnopqrstuvwxyzaecBfiflffffiffl  1234567890  $£,.:;-"?!- 

.  .  .()frt)Ib*t1:1I§[]%    1/8  1/4%  1/2  5/8  34  7/8 

o@tb*nm'\%  Vs  1/4  %  V2  %  %  % 

Matrix  Injorniation  :  inA45iO.  Lower  case  alphaliet,  145  points.  Figures,  .0761;  comma,  period  and  thin  space,  .038.  Runs  in  90 
channel  mafiazine.  Code  word.  ZEZAV. 


774 


One  Hundred  Years  ago,  typefounders  in  Scotland  were  advertising  the 
face  we  know  as  Scotch  which  then  was  termed  Modern  Roman.  Whether 
Scotch  evolved  from  an  attempt  to  modernize  Caslon,  or  whether  it  grew 
out  of  a  modification  of  the  straight  serifs  of  Bodoni,  really  doesn't  matter. 
Scotch  Roman  still  has  a  definite  place  in  the  typographic  resources  of  every 
good  printer. 

Linotype  provides  two  versions  of  the  Scotch  Roman  face  — the  Scotch 
No.  2  series  is  a  new  cutting,  with  slightly  closer  fitting  and  the  emphasis  of 
black  in  the  capital  letters  removed.  It  is  available  in  five  sizes,  from  8  to  12 
point  inclusive.  In  the  straight  Linotype  Scotch  series,  the  full  sturdy  capi- 
tals of  the  original  face  remain  intact,  as  does  the  harmonious  lower  case 
with  its  incisive  down-strokes,  beautifully  turned  serifs,  and  the  general 
crispness  that  never  intrudes. 

There  is  a  wholesomeness,  a  dignified  respectability  about  Scotch  that 
makes  it  extremely  useful  on  almost  any  kind  of  book  —  fiction,  biography, 
history,  text  books,  bibliographies,  etc.  In  periodical  and  job  work  too,  the 
face  affords  exceptional  reading  ease  and  the  suitaljle  utility  of  few  existing 
types.  Linotype  Scotch,  also  shown  on  inside  pages,  is  available  in  ten  sizes, 
from  6  to  30  point,  inclusive. 


MERGENTHALER    LINOTYPE    COMPANY 

BROOKLYN,  N.  Y.,  NEW  YORK  CITY,  CHICAGO,  SAN  FRANCISCO,  NEW  ORLEANS.  CANADIAN 
LINOTYPE,  LIMITED,  TORONTO.  REPRP^SENTATIVES  IN  PRINCIPAL  CITIES  OF  THE  WORLD 


List  of 
Characters 


LINOTYPE    SCOTCH    No.  2 


LIST   OF   CHARACTERS    IN   TWO-LETTER    FONTS 
WITH    ITALIC   AND    SMALL  CAPS 

ABCDEFGHIJKLMNOPQRSTUVWXYZ 
ABCDEFGHIJKLMNOPQRSTUVWXYZ 

ABCDEFGHIJKLMNOPQRSTUVWXYZ 

12345       abcdefghijklmnopqrstuvwxyz       67890 
VBCDE       abcdejghijklninopqrstuvwxyz       fgrtj 

,.:;?!(!)*"-  — iE(Effi&£$...  fiflffffiffl 

,.s;?/aiqo" ^  (E  lb  -N^TP-L       .  .  .  fiY  ffwm 

12345       Z&:()flffiffl$seoe       67890     ; ! 
123  Jf5       jj&:()flffiffl$ceoe       67890     V. 

VsV-L%V2%%7^      HKXZ&^(E      @       %t$§1I-[] 
(»  c LINOTYPE"   ) 


ONE-LETTER    ITALIC    LOGOTYPES 

FA  PA  TA  VA  WA  YA  Th  Wh 


SPECIAL    NO.    5 


/  af  af  ej  ef  hf  if  iff  kf  If  mf  nf  of  off  pf  rf  sf  tf  uf  uff  yf  If  Of 


ONE-LETTER    ITALIC 
SPECIAL   NO.   5 

abcdefghijklmnopqrstuvwxyz 


TRUE-CUT    SMALL   CAPS 
SPECIAL    NO.   5 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 


TWO-LETTER    LOGOTYPES 

Ta  Te  To  Tr  Tu  Tw  Ty  Va  Ve  Vo  Wa  We  Wi  Wo  Wr  Ya  Ye  Yo 
Ta  Te   To  Tr  Tu  Tw  Ty  Va   Ve  Vo  Wa  We  Wi  Wo  Wr  la   Ye   Yo 


776 


LINOTYPE    SCOTCH    No.  2 


8  rniiit  Scotch  No.  2  with  Italic  and  Small  ('at)s  (SA416)  I.mvcr  case  alphabet.  JO.i  iKjiiits.  Figures.  .055,! 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TEI{MS  OF  ITS  ESTHETIC  DE 

How  i.s  one  to  a.sses.s  and  evaluate  a  l.vpe  lace  in  terms  of  it.s  e.stlietie  de.sign?  Wliy  <lo  the  pace-makers  in 
the  art  of  i>rinting  rave  over  a  speeifio  lace  of  type?  Wliat  do  they  see  in  it?  Why  is  it  so  superhitively 
pleasant  to  tlieir  eyes.''  Good  design  is  always  practical  design.  And  what  they  .see  in  a  good  type  dcs  1"234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DE 
IIoio  is  one  to  assess  and  evaluate  a  type  jace  in  terms  oj  its  esthetic,  design?  Why  do  the  pace-make  vhcd 

9  I'oint  Scotch  No.  2  with  Italic  and  Small  Caps  (9A126)  Lower  ta^e  alplialn-t.  IIG  ptjinl.s.  Figures,  .0622 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTH 

How  i.s  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  desij^ii!'  Why  do  the  |)acc- 
niakers  in  the  art  of  printing  rave  over  a  sjjecific  face  of  tyi)e?  W'hat  do  they  see  in  it?  Why  is  it 
so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  j)ractical  design.  And  what  12,'5I- 
IIOW  IS  ONE  TO  ASSESS  AND  EVALUA  TE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTH 

How  is  one  to  assess  and  evaluate  a  type  face  iti  terms  oj  its  esthetic  design':'  ^\  hij  do  the  viiCD 

10  r(.int  Scotch  No.  2  with  Italic  anJ  Small  Caps  (10A57-t)  Lower  case  alphal)et,  131  points.  Fisures,  .0692 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  ty[)e?  What  do 
they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  1'23-i 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF 

IIoiv  is  one  to  assess  and  evaluate  a  type  jace  in  terms  oj  its  esthetic  design?  W  vbcd 

11  Point  Scotch  No.  2  with  Italic  and  Small  Caps  (llAHO)  Lower  case  alphabet.  140  points.  Figures.  .0761 

HOW  IS  ONE  TO  ASSESS  AND  EVALITATE  A  TYPE  FACE  IN  TER:\IS 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type? 
What  do  they  see  in  it?  Why  is  it  so  superhitively  pleasant  to  their  eyes?  1234 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS 

How  is  one  to  assess  and  evaluate  a  type  lace  in  terms  oj  its  esthetic  dcsiy  vbcd 

12  Toint  Scotch  No.  2  with  Italic  and  Small  Caps  (12A374)  Lower  case  alphabet,  154  points.  Figures.  .08.3 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  T 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific 
face  of  type?  W' hat  do  they  see  in  it?  Why  is  it  so  superlatively  j)lea  1'234< 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  T 
How  is  one  to  assess  and  evaluate  a  type  jace  in  terms  oj  its  esthetic  vbcd 


Comparison 
of  Sizes 


777 


LINOTYPE    SCOTCH    No.  2 


8 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  D 
WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FAC 
IJOZTZt  How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in 
the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively 
pleasant  to  their  eyes?  Good  design  is  always  practical  design.  And  what  tliey  see  in  a  good  type  design  is, 
partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just 
right  for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to 
do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste 
of  material  and  no  lack  of  strength.  And,  beyond  that,  the  chair  may  have  been  made  by  a  man  who 
worked  out  in  it  his  sense  of  fine  shapes  and  curves  and  proportions:  it  may  be,  actually,  a  work  of  art. 
The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  letter  (if  a  true  artist  made  it)  will 
have,  besides  its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped  on  paper  and  read. 
That  explains,  in  a  way,  why  the  experts  rave  over  the  fine  shapes  of  letters;  but  it  fails  to  explain  where- 
in the  shapes  are  fine.  If  you  seek  to  go  further  with  the  Inquiry,  theories  will  be  your  only  answer.  Here 
is  a  theory  that  the  proponent  thinks  may  have  sense  in  it:  Fine  type  letters  were,  in  the  first  place, 
copies  of  fine  written  letters.  Fine  written  letters  were  fine  because  they  were  produced  in  the  most  direct 
and  simple  way  by  a  tool  in  the  hands  of  a  person  expert  in  its  use,  by  a  person,  moreover,  who  was  an 
artist,  i.e.,  a  person  equipped  to  make  sound  judgments  about  lines,  curves,  proportions,  etc.  The  artist 
of  that  moment  when  printing  was  invented  who  furnished  the  fine  written  patterns  for  type  was  (luckily 
for  printing)  working  at  the  top  notch  of  a  fine  tradition  of  calligraphy.  He  was  making  sound  judgments 
about  lines  and  curves  and  proportions  of  letters.  He  had  resurrected  an  ancient  distinguished  style  of 
writing  and  had  added  to  it  the  quality  of  his  own  fine  taste.  His  letters  flowed  from  his  pen  easily  and 
simply,  without  any  tricks  or  affectations  or  extraneous  embellishments.  He  was  simple  enough  and  art- 
ist enough  to  let  the  implement  itself  (and  his  facile  hand)  sliape  the  product.  The  fine  qualities  of  this 
artist's  letter-forms  were  carried  over  into  the  metal  types  and  sealed  up  there,  like  butterflies  in  amber. 
It  is  argued,  however,  that  the  ascription  of  beauty  to  type  letters  by  this  route  (i.e.,  via  the  standards  of 
calligraphy)  is  false  logic.  If  the  natural  and  simple  and  tastefully  controlled  use  of  an  implement  pro- 
duces a  fine  result,  why  not  start  with  the  process  of  founding  type  instead  of  with  the  process  of  writing 
with  a  pen?  Why  not  cut  punches  and  strike  matrices  and  cast  type  metal  simply  and  naturally  and  taste- 

(tzt<o  point  leaded) 

How  IS  ONE  to  assess  and  evaluate  a  type  face  in  How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace-mak-  terms  of  its  esthetic  design?  Why  do  the  pace-mak- 
ers in  the  art  of  printing  rave  over  a  specific  face  of  grs  in  the  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it.?  Why  is  it  so  superla-  t^pg?  -^yhat  do  they  see  in  it?  Why  is  it  so  superla- 
tively pleasant  to  their  eyes?  Goorf  design  ,s  always  ^j^^j^  pleasant  to  their  eyes?  Good  design  is  always 
prac^icat  ac«(gw.  And  what  they  see  in  a  good  type  V  i  ;  •  *  i  i'  *  ii  •  li 
',  .  .  .1  •.  u  i  4-  1  ci  i  riracncot  aesiort.  And  what  they  see  in  a  good  type 
design  IS,  partly,  its  excellent  practical  fitness  to  'l  .  .  "  .  ■^  .  "s  """-j't"- 
perform  its  work.  It  has  a  "heft"  and  balance  in  all  ^^^sign  is,  partly,  its  excellent  practical  fitness  to 
of  its  parts  just  right  for  its  size,  as  any  good  tool  perform  its  work.  It  has  a  "helt  and  balance  m  all 
(solid)  of  its  parts  just  right  for  its  size,  as  any  good  tool 
The  same  thing  holds  for  shapes  of  letters.  And  i,our  ''=!«•  Your  good  chair  has  all  of  its  parts  made  nicely 
chair,  or  yonr  letter  (if  a  true  artist  made  it)  joill  have,  to  tlie  right  size  to  do  exactly  the  work  that  the 
besides  its  good  looks,  a  suitability  to  the  nth  degree  to  chair  has  to  do,  neither  clumsy  and  thick,  nor 
be  sat  111,  or  stamped  on  paper  and  read.  That  explains,  "skinny"  and  weak,  no  waste  of  material  and  no 

(Onc-Lcttcr  Italic)  (one  point  leaded) 

ABCDEFGHI.IKLMNOPQRSTUVWXYZ& 
A  BCDFFGIIIJKLMNOPQRS  T  UVWX  YZ& 

ABCDEFGHI.IKLMNOPQRSTUVWXYZSt 

abcdefghijklmnopqrstuvw.xyzfiflffffiffl  ($£,.:;'-'?!*t1:§^)  1234567890 
abcdefghijklmnopqrstuvwxyzfiflffffiffl  ($£,.:;'-'?!  tilt)  133J,567890 

TRUE-CUT  SMALL  CAPS,  SPECIAL  NO.  5 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ONE-LETTER  ITALIC,  SPECIAL  NO.  S 

abcdefghijklmnopqrstuviexyz 

Matrix  Information :  8A416.  Lower  case  alphabet,  103  points.  Figures.  .0553;  comma,  period  and  thin  space.  .0277.  Runs  in  90 
channel  magazine.  Code  word,  ZEJO. 


778 


LINOTYPE    SCOTCH    No.  2 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTH      Q 
DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVE  , 

How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-  'POlTlt 
makers  in  tlie  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it 
so  superlatively  pleasant  to  their  eyes?  Good  (le.sij/n  /.y  ahvaij.s  practical  deaiyn.  And  what  they 
see  in  a  good  type  design  is,  partly,  its  excellent  practical  fitness  to  jjorform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair 
has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly  the  work  that  the  cliair  has  to  do, 
neither  clumsy  and  thick,  nor  "skinny"  antl  weak,  no  waste  of  material  and  no  lack  of  strength. 
And,  beyond  that,  the  chair  may  have  been  made  by  a  man  who  worked  out  in  it  liis  sen.se  of 
fine  shapes  and  curves  and  proportions:  it  may  be,  actually,  a  work  of  art.  The  same  thing 
holds  for  shapes  of  letters.  And  your  chair,  or  your  letter  (if  a  true  artist  made  it)  will  have, 
besides  its  gootl  looks,  a  suitability  to  the  wtli  degree  to  be  sat  in,  ov  stam])ed  on  jjajx-r  and 
read.  That  explains,  in  a  way,  why  the  experts  rave  over  the  fine  sliai)es  of  letters;  but  it  fails  to 
explain  wherein  the  shapes  are  fine.  If  you  seek  to  go  further  witii  tlie  intpiiry,  tlieorics  will  be 
your  only  answer.  Here  is  a  theory  that  the  proponent  thinks  may  have  sense  in  it:  Fine  type 
letters  were,  in  the  first  place,  copies  of  fine  written  letters.  Fine  written  letters  were  fine  be- 
cause they  were  produced  in  the  most  direct  and  simple  way  by  a  tool  in  the  hands  of  a  2)er.son 
exj)ert  in  its  use,  by  a  person,  moreover,  who  was  an  artist,  i.e.,  a  person  ecjuipped  to  make 
sound  judgments  about  lines,  curves,  proi:)()rtions.  etc.  The  artist  of  that  moment  when  jH'int- 
ing  was  invented  who  furnished  the  fine  written  jiatterns  for  type  was  (luckily  for  jnnnting) 
working  at  the  top  notch  of  a  fine  tradition  of  cal]igra])liy.  He  was  making  sound  judgments 
about  lines  and  curves  and  proportions  of  letters.  He  had  resurrected  an  ancient  distinguished 
style  of  writing  and  had  added  to  it  the  quality  of  his  own  fine  taste.  His  letters  flowed  from  his 
pen  easily  and  simply,  without  any  tricks  or  affectations  or  extraneous  embellishments.  He 

( tzvo  point  leaded) 

How  IS  ONE  to  assess  an<l  evaluate  a  type  face  How  is  one  to  assess  and  evaluate  a  tyi)e  face 

in  terms  of  its  esthetic  design?  Why  do  the  in  terms  of  its  esthetic  design?  Wliy  ilo  tlie 

pace-makers  in  the  art  of  printing  rave  over  a  pace-makers  in  the  art  of  printing  rave  over  a 

specific  face  of  type?  Wiiat  do  they  .see  in  it?  specific  face  of  type?  What  do  they  see  in  it? 

Why  IS  It  so  superlatively  pleasant  to  then-  ^^j^     j^  j^  ^^  superlativelv  j.leasant  to  tlieir 
eyei^r  uood  desion  IS  alivaijs  practical  desian.  .,  „       ;   ;     •       •      i  i-     ;   ;     • 

.'    ,     1    .  .1       *'      •  li  1    •       •  eyes:  Good  dcsiqn  Lf  alwai/s  practical  dcsKin. 

And  wliat  tliey  see  in  a  good  type  design  is,  ,     ,      ,         ,  .  ,  ,     .     ■'. 

partlv,  its  excellent  practical  fitness  to  per-  -^"'1  ^^''.''t  they  see  in  a  good  type  design  is, 

(suiid)  partly,  its  excellent  practical  fitness  to  per- 

T/ic  same  thing  holds  for  shapes  of  letters.  And  ^o^m  its  work.  It  has  a  "heft"  and  balance 

your  chair,  or  ,/our  letter  (if  a  true  artist  made  it)  '"  all  of  its  parts  just  right  tor  its  size,  as 

irill  hare,  besides  its  good  looks,  a  suitabiliti/  to  the  any  good  tool  has.  Your  good  chair  has  all  of 

nth  degree  to  be  sat  in.  or  stamped  on  paper  and  its  parts  made  nicely  to  the  right  size  to  do 

(Onc-Lctter  Italic  )  '  oiu-  foint  leaded  I 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZA- 

ABCDEFGIIIJKLMNOI>qHSTUVWXVZ&; 

abcdefghijklmnopqrstuvwxyzfiflfl'ffiffl(!i^£,.:;'-'?!*+±r)  123-1.567890 
abcdef<jhiiklmnupcirstuvwxyzfifljjf]iffl  ( '^i->-:;'-"^'-    ttSi;  Ud^oGlS'JO 

TRUE-CUT  SMALL  CAPS,  SPECIAL  NO.  5 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ONE-LETTER  ITALIC,  SPECIAL  NO,  5 

abcdejgh  ijklm  nopqrst  uvirxyz 

Matrix  Inlormalion:  9A126.  Lower  case  alpli,il.ct.  l]r,  pi.ints.  Figures.  .OfiJJ:  iciiniia.  peri...l  ami  thin  space.  .OJIl.  Uuns  in  90 
cliainicl  inaKazine.  Cnde  word.  ZI-'I.V. 


779 


LINOTYPE    SCOTCH    No.  2 


1  n  HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF 
ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  O 
POITIZ  How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do 
they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  al- 
ways practical  design.  And  what  they  see  in  a  good  type  design  is,  partly,  its  excel- 
lent practical  fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its 
parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts 
made  nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither 
clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of  material  and  no  lack  of 
strength.  And,  beyond  that,  the  chair  may  have  been  made  by  a  man  who  worked 
out  in  it  his  sense  of  fine  shapes  and  curves  and  proportions:  it  may  be,  actually,  a 
work  of  art.  The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or  your  let- 
ter (if  a  true  artist  made  it)  will  have,  besides  its  good  looks,  a  suitability  to  the  nth 
degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That  explains,  in  a  way,  why  the 
experts  rave  over  the  fine  shapes  of  letters;  but  it  fails  to  explain  wherein  the  shapes 
are  fine.  If  you  seek  to  go  further  with  the  inquiry,  theories  will  be  your  only  answer. 
Here  is  a  theory  that  the  proponent  thinks  may  have  sense  in  it:  Fine  type  letters 
were,  in  the  first  place,  copies  of  fine  written  letters.  Fine  written  letters  were  fine 
because  they  were  produced  in  the  most  direct  and  simple  way  by  a  tool  in  the 
hands  of  a  person  expert  in  its  use,  by  a  person,  moreover,  who  was  an  artist,  i.e.,  a 
person  equipped  to  make  sound  judgments  about  lines,  curves,  proportions,  etc. 
The  artist  of  that  moment  when  printing  was  invented  who  furnished  the  fine  writ- 
ten patterns  for  type  was  (luckily  for  printing)  working  at  the  top  notch  of  a  fine 
tradition  of  calligraphy.  He  was  making  sound  judgments  about  lines  and  curves 
and  proportions  of  letters.  He  had  resurrected  an  ancient  distinguished  style  of  writ- 
ing and  had  added  to  it  the  quality  of  his  own  fine  taste.  His  letters  flowed  from  his 
pen  easily  and  simply,  without  any  tricks  or  affectations  or  extraneous  embellish- 

(tzvo  point  leaded) 

The  same  thing  holds  j or  shapes  oj  letters.  And  your  chair,  or  your  letter  (if  a  true  artist 
made  it)  will  have,  besides  its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped 
on  paper  and  read.  That  explains,  in  a  "vay,  why  the  experts  rave  over  the  fine  shapes  of  let- 
ters; but  it  fails  to  explain  wherein  the  shapes  are  fine.  If  you  seek  to  go  further  with  the 

(One-Letter  Italic) 

ABCDEFGIIIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ABCDSFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflfi'ffifla($£,.:;'-'?!*t±§1I)  1234567890 
abcdefghijklmnoj)qrstuvivxyzfiflj}jfijfl  ($£,.:■-'?!  \%IV  123^7890 

TRUE-CUT  SMALL  CAPS,  SPECIAL  NO.  S 

ABCDEFGHIJKLMNOPQRSTUVWXyZ& 

ONE-LETTER  ITALIC,  SPECIAL  NO.  5 

abcdefghijklmnopqrstuvwxyz 

Matrix  Information :  10A374.  Lower  case  alphabet.  131  points.  Figures.  .0692;  comma,  period  and  thin  space.  .03-16.  Runs  in  90 
channel  magazine.  Code  word.  ZENE. 


780 


LINOTYPE    SCOTCH    No.  2 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS     ]  ] 

OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  •    , 

TJOTflt 
How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 

Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type? 
What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good 
design  is  always  practical  design.  And  what  they  see  in  a  good  type  design  is, 
partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good 
chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly  the  work 
that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no 
waste  of  material  and  no  lack  of  strength.  And,  beyond  that,  the  chair  may 
have  been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and 
curves  and  proportions:  it  may  be,  actually,  a  work  of  art.  The  same  thing 
holds  for  shapes  of  letters.  And  your  chair,  or  your  letter  (if  a  true  artist  made 
it)  will  have,  besides  its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in, 
or  stamped  on  paper  and  read.  That  explains,  in  a  way,  why  the  experts  rave 
over  the  fine  shapes  of  letters;  but  it  fails  to  explain  wherein  the  shapes  are  fine. 
If  you  seek  to  go  further  with  the  inquiry,  theories  will  be  your  only  answer. 
Here  is  a  theory  that  the  proponent  thinks  may  have  sense  in  it:  Fine  type  let- 
ters were,  in  the  first  place,  copies  of  fine  written  letters.  Fine  written  letters 
were  fine  because  they  were  produced  in  the  most  direct  and  simple  way  by  a 
tool  in  the  hands  of  a  person  expert  in  its  use,  by  a  person,  moreover,  who  was 
an  artist,  i.e.,  a  person  equipped  to  make  sound  judgments  about  lines,  curves, 
proportions,  etc.  The  artist  of  that  moment  when  printing  was  invented  who 
fin-nished  the  fine  written  patterns  for  type  was  (luckily  for  printing)  working 

(two  point  leaded) 

The  same  thing  holds  Jar  shapes  of  letters.  And  your  chair,  or  your  letter  {if  a  true 
artist  made  it)  will  have,  besides  its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat 
in,  or  stamped  on  paper  and  read.  That  explains,  in  a  tvay,  why  the  experts  rave  over 
the  fine  shapes  of  letters;  but  it  fails  to  explain  tvherein  the  sJiapes  are  fine.  If  you  seek 

(Unc-Lcltci  Italic) 

ABCDEFGHTJKLMNOPQRSTUVWXYZ& 
ABCDEFGH1JKLMN0PQRSTUVWXYZ& 

ABCDEFGIIIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflfffl^fl:i($£,.:;'-'?!*tt§1I)  12.34567890 

abcdejghijklmnopqrstuvwxyzfiflifffiffl('S£,.:;'-'?!  UW  123^7890 

TRUE-CUT  SMALL  CAPS,  SPECIAL  HO     5 

ABCDEFGHIJKLMNOPQRSTlA^WXYZ& 

ONE-LETTER  ITALIC,  SPECIAL  NO    5 

abcdefgh  ijklm  n  opqrstu  v  uyxyz 

Matrix  Injormalion:  IIAIIO.  I.nwer  case  alpliabet.  Mil  p.iints.  Figures.  .n7M  ;  r.umiia.  iieri..(l  anil  thin  si)aco,  .0.!S.  Runs  in  90 
channel  niagazine.  fule  wurd.  ZKl'V. 


781 


LINOTYPE    SCOTCH    No.  2 


point 


12     now  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  EACE  IN  T 
OE  ITS  ESTinniC  DESIGN?  WHY  DO  THE  PACE-MAKERS  I 

I  low  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant 
to  their  eyes?  Good  design  is  always  practical  design.  And  what  they  see 
in  a  good  type  design  is,  partly,  its  excellent  practical  fitness  to  perform 
its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely 
to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither 
clumsy  and  thick,  nor  "skiimy"  and  weak,  no  waste  of  material  and  no 
lack  of  strength.  And,  beyond  that,  the  chair  may  have  been  made  by  a 
man  who  worked  out  in  it  his  sense  of  fine  shapes  and  curves  and  propor- 
tions: it  may  be,  actually,  a  work  of  art.  The  same  thing  holds  for  shapes 
of  letters.  And  your  chair,  or  your  letter  (if  a  true  artist  made  it)  will 
have,  besides  its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in, 
or  stamped  on  paper  and  read.  That  explains,  in  a  way,  why  the  experts 
rave  over  the  fine  shapes  of  letters;  but  it  fails  to  explain  wherein  the 
slia])es  are  fine.  If  you  seek  to  go  further  with  the  incjuiry,  theories  will 
be  your  only  answer.  Here  is  a  theory  that  the  proponent  thinks  may 
have  sense  in  it:  Fine  tyi)e  letters  were,  in  the  first  place,  copies  of  fine 
written  letters.  Fine  written  letters  were  fine  because  they  were  pro- 
duced in  the  most  direct  and  simi)le  way  by  a  tool  in  the  hands  of  a  per- 

(tTVii  I'oiiil  Iniilrd) 

The  same  thing  holds  for  shapes  oj  letters.  And  your  chair,  or  your  letter  (if  a 
true  artist  made  it)  will  have,  besides  its  good  looks,  a  suitahility  to  the  nth  de- 
gree to  be  sat  in,  or  stamped  on  paper  and  read.  That  explains,  in  a  way,  why 
the  experts  rave  over  the  fine  shapes  of  letters;  but  it  fails  to  explain  wherein  the 

(OnC'l.clIrr  Italic) 

ABCDEFGITIJKLMNOPQRSTUVWXYZ& 
ABCDKFailLU<LMN()PQIlSTlJVWXYZ& 

ABCUEFGliIJKLMN01'QHSTUVWXYZ& 

abcdefghijk]mnop(irstuvwxy/fiflfmim($C,.:;'-'?!='i-:i:§t[)  1234507890 
abcdcjyhijidnmopqrstiwwxyzfijljjjjijjl  ($f:,.:;-'Y!  UW  123^7890 

TRUE-CUT  SMALL  CAPS,  SPECIAL  NO.  S 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ONt-LETTER  ITALIC,  SPECIAL  NO.  5 


abcdrfghijJdmnopqrstuvwxyz 


Matrix  Injormation:  12A374.  I-ower  case  alplialict.  IS'l  puiiits.  Fimircs,  .OX.I;  comma,  period  and  thin  space,  .0415.  Runs  in  90 
channel  ni:iK,'t/.ine.  Code  word,  ZAIIKS. 


782 


LINOTYPE    SCOTCH 


of  Sizes 


(,  I'niiit  Sci.tcli  uilh  It;ilii  ^iiicl  Small  laps  ((.A'-'i.)  laiwcr  ia-.c  aliilialjut.  V7  imints.  Figures,  .0-1)^4  -^ 

HOW  IS  ONK  to  assess  and  evaluate  a  type  face  in  terms  of  its  estlietic  (iesiRii?  Why  do  the  pace-makers  rJSl        Cv  071%1)(IT ISOTV 

HOW  IS  ONE  to  assess  and  evaimifc  a  tijpe  face  in  terms  of  its  esthetic  design  f  Why  do  the  pace-makers  vb<  i) 

X  Point  Stulch  with  Italic  and  Small  Caps  (8A82)  l.i.ucr  lasi-  alphabet.  110  points.  luBures,  .(J.^6 

MOW  IS  ONE  to  assess  and  evaluate  a  tyi)c  face  in  terms  of  its  estlietic  design?  Why  do  the  1234. 
HOW  18  ONE  to  assess  and  evaluate  a  tijiie  face  hi  terms  of  its  esthetic  design^  ^Vliii  do  the  vhcd 

10  Point  Scotch  with  Italic  and  Small  Caps  (lOAJfJ)  I.owc-r  case  alphabet.  \1'>  points.  FiKUves.  .0/0 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetie  design?  123 1 
HOW  IS  ONE  to  assess  and  evaluate  a  ti/pe  face  in  terins  of  its  esthetic  design?  vbcd 

11  Point  Scotch  with  Italic  and  Small  Caps  (IIAIO)  Lower  case  alphabet.  1.1-)  points.  Figures.  .077 

now  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  estlietic  desi  1234< 
HOW  IS  ONE  to  assess  and  evaluate  a,  type  face  in  terms  of  its  esthetic  desi  vbcd 

ll'A  Point  Scotch  with  Italic  and  Small  Caps  (11!.jA2)  Lower  case  alphabet.  1-42  points.  Figures,  .0816 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  1234< 
HOW  IS  ONE  to  assess  and  evaluate  a  type  faee  in  terms  of  its  esthetic  vbcd 

12  Point  Scotch  with  Italic  and  Small  Caps  (12A10)  Lower  case  alphabet,  l.^.'^  points.  Figures,  .084 

HOW  IS  ONE  to  assess  and  evaluate  a  type  faee  in  terms  of  its  e  1284 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  e  vbcd 

14  Point  Scoltb  with  Italic  and  Small  Caps  (14A142)  Lower  case  aljihabet.  1  SC  points.  Figures.  .0''f.8 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  ter  1 234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  ter  wbcd 

l.s  P.iint  Scotch  (1.SA195)  Lower  case  alphabet.  2.?s  points.  Figure  1,  .0968;  2  to  0.  .124^ 

HOW  IS  one  to  assess  and  evaluate  a  type  123 

24  Point  Scotch  (24A1711  Lower  case  .alphabet.  Vl7  points,  I- ignrc  1 .    MS'I :  .Mo  0.  .  I1.6 

HOW  IS  one  to  assess  and  eval  123 

.^0  Point  Scotch  (inAlO?)  I  .,uer  ,ase  aljihaliet.  176  points.  Figure  1.  .1708:  2  to  0.    207s 

HOW  IS  one  to  assess  an  123 

18  Point   S.otch    Italic  (18A197)  I  ower  lase  alphabet,  JM,  l.nints    l-igure^.  ,124^ 

HOW  IS  one  to  assess  cmd  evaluate  a  type  123 


(LINOTYPE"") 

List  of  Characteus  in  Two-Lettkh  I^'onts  One-Letter 

with  Italic  and  Small  Caps  Italic  Logotypes 

ABCDEFGHLJKLMNOPQRSTUVWXYZ  /./  PA  TA  T'A  JVA  YA  Th  JVh 
ABCDEFGHLJKLMNOPQRSTUVWXYZ 

1231.5           ahcdcfgliijklinnopqrstiivwxyz           (57890  Two-Letter  Logotypes 

VBCDE                  ahcd  Cf  (jhi  j  klmnO  pqrst  UVXVd-  IJ  Z                  FGUTJ  t.    p    rp^    rp^    rpj^    r^^   rp^^    rp^^    rp       ry 

, .  :  ;  ?  !  (I  )  *  "  -  —  ^.  Q.:  ft  &  ,£  $  .  .  .          fi  fl  ff  fH  ffl  a-  («■  K  P.  To  Te  To  Tr  Tu  Iw  fii  T. 

,  .  S  ;  ?  /  A  I  y  O  " .i:aJIbN£pL           .    .    .  fi  V  ff  W  M  K  II  y^     y^     y^^     y     ^y.^     yj^     ;y^     ^^y 

12345        Z&  :  (  )flffiffla.a>        07890  la    Je    lo   V.    JVa    We    Wo    W. 

12S45       vS,-:()flffifflceoe       07890  Ya  Ye  Yo  Y. 

%l4%llj%%Vs      xz&^(E      @%tt§1I-[]  Ya    Ye   Yo   Y. 


783 


LINOTYPE    SCOTCH 


6 

point 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY 
DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  OF  TYPE?  WHAT 

How  IS  ONE  to  assess  and  evaluate  a  type  face  in 


How  IS  ONE  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  tlie  pace-makers 
in  the  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  tliey  see  in  it?  Why  is  it  so  superla- 
tively pleasant  to  their  eyes?  Good  design  is  alwai/s 
practical  desi(/ii.  And  what  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fitness  to  per- 
form its  worl{.  It  has  a  "heft"  and  balance  in  all  of 
its  parts  just  right  for  its  size,  as  any  good  tool  has. 
Your  good  chair  has  all  of  its  parts  made  nicely  to 
the  right  size  to  do  exactly  tlie  work  that  the  cliair 
has  to  do,  neitlier  clumsy  and  thick,  nor  "skinny"  and 
weak,  no  waste  of  material  and  no  lack  of  strength. 
And,  beyond  that,  the  chair  may  have  been  made  by 
a  man  who  worked  out  in  it  his  sense  of  fine  shapes 
and  curves  and  proportions:  it  may  be,  actually,  a 
work  of  art.  The  same  thing  holds  for  shapes  of  let- 
ters. And  your  cliair,  or  your  letter  (if  a  true  artist 
made  it)  vvill  have,  besides  its  good  looks,  a  suitabil- 
ity to  tlie  nth  degree  to  be  sat  in,  or  stamped  on  paper 
and  read.  Tliat  explains,  in  a  way,  wliy  the  experts 
rave  over  the  fine  sliapes  of  letters;  but  it  fails  to  ex- 
plain wlierein  tlie  shapes  are  fine.  If  you  seek  to  go 
further  with  the  inquiry,  theories  will  be  your  only 

How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthet-ic  design?  Why  do  the  pace-makers 
in  the  art  of  printing  rave  over  a  specific  face  of 

(solid) 


terms  of  its  estlietic  design?  Why  do  the  pace-makers 
in  the  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it  so  superla- 
tively pleasant  to  their  eyes?  Good  design  is  always 
practical  design.  And  what  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fitness  to  per- 
form its  work.  It  has  a  "heft"  and  balance  in  all  of 
its  parts  just  right  for  its  size,  as  any  good  tool  has. 
Your  good  chair  has  all  of  its  parts  made  nicely  to 
the  right  size  to  do  exactly  the  work  that  the  chair 
has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and 
weak,  no  waste  of  material  and  no  lack  of  strength. 
And,  beyond  that,  the  chair  may  have  been  made  by 
a  man  wlio  worked  out  in  it  his  sense  of  fine  shapes 
and  curves  and  proportions:  it  may  be,  actually,  a 
work  of  art.  The  same  thing  holds  for  shapes  of  let- 
ters. And  your  chair,  or  your  letter  (if  a  true  artist 
made  it)  will  have,  besides  its  good  looks,  a  suitabil- 
ity to  the  Jith  degree  to  be  sat  in,  or  stamped  on  paper 
and  read.  That  explains,  in  a  way,  why  the  experts 
rave  over  the  fine  shapes  of  letters ;  but  it  fails  to  ex- 
plain wherein  the  shapes  are  fine.  If  you  seek  to  go 
further  with  the  inquiry,  theories  will  be  your  only 
(one  point  leaded) 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHlJKLMNOPQRSTUVWXYZ(t: 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijkimnopqrstuvwxvzflflffffiffl  ($£,.:;'-'?  !*tt§ll)  123456T890 
abcdefghijklmnopqrstui-wxyzfiflffffiffl  ($£,.:;'-'/!  tt§ll)  12SU567890 


Matrix  Information:  6A96.  Lower  case  alphabet,  97  points.  Figures, 
channel  magazine.  Code  word,  OCUL. 


.0484;  comma,  period  and  thin  space,  .0277.  Runs  in  90 


-{„,«LlNaTYPE"«> 


8 
point 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHE 
DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER 


How  IS  ONE  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  tlie  pace- 
makers in  the  art  of  printing  rave  over  a  spe- 
cific face  of  type?  What  do  they  see  in  it?  Why 
is  it  so  superlatively  pleasant  to  their  eyes? 
Good  design  is  always  practical  design.  And 
what  they  see  in  a  good  type  design  is,  partly, 
its  excellent  practical  fitness  to  perform  its 
work.  It  has  a  "heft"  and  balance  in  all  of  its 
parts  just  right  for  its  size,  as  any  good  tool 
has.  Your  good  chair  has  all  of  its  parts  made 
nicely  to  the  right  size  to  do  exactly  the  work 
that  the  chair  has  to  do,  neither  clumsy  and 
thick,  nor  "skinny"  and  weak,  no  waste  of  mate- 
rial and  no  lack  of  strength.  And,  beyond  that, 
the  chair  may  have  been  made  by  a  man  who 

How  is  one  to  assess  and  ei'aluate  a  type  face  in 
terms  of  its  esthetic  design?  }Miy  do  the  pace- 
makers in.  the  art  of  printing  rave  over  a  spe- 

(solid) 


How  IS  ONE  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  spe- 
cific face  of  type?  What  do  they  see  in  it?  Why 
is  it  SO  superlatively  pleasant  to  their  eyes? 
Good  design  is  always  practical  design.  And 
wliat  they  see  in  a  good  type  design  is,  partly, 
its  excellent  practical  fitness  to  perform  its 
work.  It  has  a  "heft"  and  balance  in  all  of  its 
parts  just  right  for  its  size,  as  any  good  tool 
has.  Your  good  chair  has  all  of  its  parts  made 
nicely  to  the  right  size  to  do  exactly  the  work 
tliat  the  chair  has  to  do,  neither  clumsy  and 
tliick,  nor  "skinny"  and  weak,  no  waste  of  mate- 
rial and  no  lack  of  strength.  And,  beyond  that, 
the  chair  may  have  been  made  by  a  man  who 
worked  out  in  it  his  sense  of  fine  shapes  and 
curves  and  proportions:  it  may  be,  actually,  a 

(one  point  leaded) 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHlJKLMNOPQRSTUVWXYZSf 

ABCDEFGHIJKLMNOPaRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflffffiffl  (.?£,.:;'-'?  !*ti§11)  1234567890 
abcdefghijklmnopqrstuvwryzfiflffffiffl  (■$£,.:;'-'?!  tJ§ir)  1234567890 

Matrix  Injormation:  8A82.  Lower  case  alphabet,  110  points.  Figures,  .056:  comma,  period  and  thin  space.   .028.   Runs  in  90 
channel  magazine.  Code  word,  OCYM, 


784 


LINOTYPE    SCOTCH 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  I 
ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRI 

How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  estlietic  design  ?  Why  do  the 
paee-makers  in  tlie  art  of  printing  rave  over  a  sjiecifie  faee  of  type  ?  What  do  they  see  in 
it?  Why  is  it  so  suj)erlatively  pleasant  to  their  eyes  ?  (luod  design  is  ahcaj/s  practical  de- 
sign. And  what  tliey  see  in  a  good  type  desigji  is,  partly,  its  excellent  practical  fitness  to 
perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  rigjit  for  its  size,  as 
any  good  tool  lias.  Your  good  chair  lias  ail  of  its  parts  made  nicely  to  the  right  size  to  do 
exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and 
weak,  no  waste  of  material  and  no  lack  of  strength.  And,  beyond  tiiat,  the  cliair  may 
have  been  made  by  a  man  who  worked  out  in  it  liis  sense  of  fine  shapes  and  curves  and 
proportions:  it  may  be,  actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of  let- 
ters. And  your  chair,  or  3'our  letter  (if  a  true  artist  made  it)  will  have,  besides  its  good 
looks,  a  suitability  to  the  Jitli  degree  to  be  sat  in,  or  stamped  on  paper  and  read.  Tliat 
explains,  in  a  way,  why  the  experts  rave  over  the  fine  shaj)es  of  letters ;  but  it  fails  to  ex- 
plain wherein  the  shapes  are  fine.  If  you  seek  to  go  further  with  the  inquiry,  tlieories 
will  be  your  only  answer.  Here  is  a  theory  that  the  projionent  thinks  may  have  sense  in 
it:  Fine  ty{)e  letters  were,  in  the  first  place,  copies  of  fine  written  letters.  Fine  written 
letters  were  fine  because  they  were  produced  in  the  most  direct  and  simple  way  by  a  tool 
in  the  hands  of  a  person  expert  in  its  use,  by  a  person,  moreover,  who  was  an  artist,  i.e.,  a 
person  equipped  to  make  sound  judgments  about  lines,  curves,  proportions,  etc.  The  art- 
ist of  that  moment  when  printing  was  invented  who  furnished  tlie  fine  written  patterns 
for  tyjje  was  (luckily  for  printing)  working  at  the  top  notch  of  a  fine  tradition  of  callig- 
raphy. He  was  making  sound  judgments  about  lines  and  curves  and  projiortions  of  let- 
ters. He  liad  resurrected  an  ancient  distinguished  style  of  writing  and  had  added  to  it 
the  quality  of  his  own  fine  taste.  His  letters  flowed  from  his  pen  easily  and  simply,  with- 
out any  tricks  or  affectations  or  extraneous  embcllisliments.  He  was  simj)le  enougli  and 

(fzt'n  point  leaded) 

How  IS  ONE  to  assess  and  evaluate  a  type  How  is  one  to  assess  and  evaluate  a  type 

faee  in  terms  of  its  esthetic  design?  Why  face  in  terms  of  its  esthetic  design?  Wliy 

do  the  pace-makers  in  the  art  of  printing  do  the  pace-makers  in  the  art  of  printing 

rave  over  a  specific  face  of  type  ?  Wliat  do  ,..j^,^.  q^,^^  ^  specific  faee  of  tvpe  ?  What  do 

they  see  in  it?  Why  is  it  so  superlatively  ^j^    ,  ^^^  j^^  j^p  ^y,,^,  j^  j^  so"superlativelv 

pleasant  to  their  eyes  ?  Good  design  is  al-        ,  1.  1.     1.1    •  ■:>  r^      1   1     ■       ■      i 

pleasant  to  tlieir  eyes?  Uood  design  is  al- 


pleasant  to  tlieir  eyes .''  Uood  design 
icaijS  practical  design.  And  what  they  see 
in  a  good  type  design  is,  partly,  its  exeel- 
Hoxa  is  one  to  assess  and  evaluate  a  ti/pe 
face  in  terms  of  its  esthetic  design?  Jf'hi/ 
do  the  pace-malers  in  the  art  of  printing 

(solid) 


icai/s  practical  design.  And  what  they  see 
in  a  good  type  design  is,  parti}-,  its  excel- 
lent practical  fitness  to  perform  its  work. 
It  lias  a  "Iieft"  and  balance  in  all  of  its 

(one  point  leaded) 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZS^ 

ABCDEFGHIJKLMNOPQRSTUVVVXVZ& 

abcdefghijklmnopqrstuvwxyzfiflfffl^ffl  ($£,.:;'-'?  !*tt§^)  1234567890 
abcdefghijldmnopqrstur-ccj'ijzfiflffffifjl  (■%£,. :;'-'?!   \UV  li2'U,567800 


10 

pohit 


Matrix  Information  :  lOA^r..   I.nwcr  case  alpliabct.   IJ?  pniiits.   lMt,'urfs 
channel  magai^ine.  Code  word.  ODAII. 


ina,  period  and  thin  space.  .O.iS.  Runs  in  90 


7S>5 


LINOTYPE    SCOTCH 


point 


II     HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS 
OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE 

How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is 
always  practical  design.  And  what  they  sec  in  a  good  type  design  is,  partly,  its 
excellent  practical  fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of 
its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do, 
neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of  material  and  no  lack 
of  strength.  And,  beyond  that,  the  chair  may  have  been  made  by  a  man  who  worked 
out  in  it  his  sense  of  fine  shapes  and  curves  and  proportions  :  it  may  be,  actually,  a 
work  of  art.  The  same  thing  holds  for  shapes  of  letters.  And  your  chair,  or  your 
letter  (if  a  true  artist  made  it)  will  have,  besides  its  good  looks,  a  suitability  to  the 
reth  degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That  explains,  in  a  way, 
why  the  experts  rave  over  the  fine  shapes  of  letters  ;  but  it  fails  to  explain  wherein 
the  shapes  are  fine.  If  you  seek  to  go  further  with  the  inquiry,  theories  will  be  your 
only  answer.  Here  is  a  theory  that  the  proponent  thinks  may  have  sense  in  it :  Fine 
type  letters  were,  in  the  first  place,  copies  of  fine  written  letters.  Fine  written  let- 
ters were  fine  because  they  were  produced  in  the  most  direct  and  simple  way  by  a 
tool  in  the  hands  of  a  person  expert  in  its  use,  by  a  person,  moreover,  who  was  an 
artist,  i.e.,  a  person  equipped  to  make  sound  judgments  about  lines,  curves,  pro- 
portions, etc.  The  artist  of  that  moment  when  printing  was  invented  who  fur- 
nished the  fine  written  patterns  for  type  was  (luckily  for  printing)  working  at  the 
top  notch  of  a  fine  tradition  of  calligraphy.  He  was  making  sound  judgments 
about  lines  and  curves  and  proportions  of  letters.  He  had  resurrected  an  ancient 
distinguished  stj'le  of  writing  and  had  added  to  it  the  quality  of  his  own  fine  taste. 
His  letters  flowed  from  his  pen  easily  and  simply,  without  any  tricks  or  affecta- 
tions or  extraneous  embellishments.  He  was  simple  enough  and  artist  enough  to  let 
the  implement  itself  (and  his  facile  hand)  shape  the  product.  The  fine  qualities 
of  this  artist's  letter-forms  were  carried  over  into  the  metal  types  and  sealed  up 

Hoxo  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is 

(two  point  leaded) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZSi- 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflffflSffl  ($£,.:;'-'?  !*tt§^)  1234567890 
abcdefghijkimnopqrstuvwxyzfiftfffjiffl  ($£,.:;'-'?!  {l^^y  1^3^567890 

Matrix  Information :  IIAIO.  Lower  case  alphabet,  134  points.  Figures,  .077;  comma,  period  and  thin  space,  .0385.  Runs  in  90 
channel  magazine.  Code  word,  ODAP. 


786 


LINOTYPE    SCOTCH 


point 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TE     Ijl^ 
OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  T 

How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes? 
Good  design  is  always  practical  design.  And  what  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool 
has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do  ex- 
actly the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny" 
and  weak,  no  waste  of  material  and  no  lack  of  strength.  And,  beyond  that,  the 
chair  may  have  been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine 
shapes  and  curves  and  })ro})ortions:  it  may  be,  actually,  a  work  of  art.  The 
same  thing  holds  for  shapes  of  letters.  And  3'our  chair,  or  j'our  letter  (if  a  true 
artist  made  it)  will  have,  besides  its  good  looks,  a  suitability  to  the  nth  degree 
to  be  sat  in,  or  stamped  on  paper  and  read.  That  explains,  in  a  Avay,  why  the 
experts  rave  over  the  fine  shapes  of  letters ;  but  it  fails  to  explain  wherein  the 
shapes  are  fine.  If  you  seek  to  go  further  with  the  inquiry,  theories  will  be  your 
only  answer.  Here  is  a  theory  that  the  proponent  thinks  may  have  sense  in  it: 
Fine  tj'pe  letters  were,  in  the  first  place,  copies  of  fine  written  letters.  Fine 
written  letters  were  fine  because  they  were  produced  in  the  most  direct  and 
simple  way  by  a  tool  in  the  hands  of  a  person  expert  in  its  use,  l)y  a  person, 
moreover,  who  was  an  artist,  i.e.,  a  person  equipped  to  make  sound  judgments 
about  lines,  curves,  proportions,  etc.  The  artist  of  that  moment  when  printing 
was  invented  who  furnished  the  fine  written  patterns  for  type  was  (luckily  for 
printing)  working  at  the  top  notch  of  a  fine  tradition  of  calligraphy.  He  was 
making  sound  judgments  about  lines  and  curves  and  proportions  of  letters. 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pacc-mahers  in  the  art  of  printing  rave  over  a  specific  face  of 

(Sci  on  eleven  point  body  and  leaded  ttt'o  points) 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  j^rinting  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes? 

NOTE — Long  descenders,  g,  j.  p.  q  and  y,  jor  use  when  casting  11';  point  on  a  IJ  point  slug,  -will  he  substituted  for  those 
regularly  jurnislicd  ivilh  the  jont,  if  so  ordered,  or  they  nmy  be  added  as  an  extra. 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTU  V  WAYZc^- 

ABCDEFGHIJKI.MNOPQRSTUVWXYZ& 

abcdefghiiklmnopqrstuvwxyzfiflffffiffl  ($£,. : ;'-'?  !*t:§^)  1234567890 
ahcdefghijUmnopqrstuvwxyzfififfiJiffl  ($t,.:;'-?!  tl§^;  l'£34567890 

Matrix  Injormation:  WAl^Z.  Lower  case  .alphabet.  142  points.  Figures.  .0816;  comma,  period  and  thin  sp.icc.  .040,'!.  Runs  in  90 
channel  magazine.  Smallest  slug  on  which  this  face  will  cast  is  11  point.  Code  word.  ODEJ. 


787 


LINOTYPE    SCOTCH 


point 


12     HOW  IS  ONE  TO  ASSESS  AXD  EVALUATE  A  TYPE  FA 
IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE 

How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  de- 
sign ?  Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific 
face  of  type  ?  What  do  they  see  in  it  ?  Why  is  it  so  superlatively  pleasant 
to  their  eyes  ?  Good  design  is  always  practical  design.  And  what  they  see 
in  a  good  type  design  is,  partly,  its  excellent  practical  fitness  to  perform 
its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Y)ur  good  chair  has  all  of  its  parts  made  nicely 
to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither 
clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of  material  and  no 
lack  of  strength.  And,  beyond  that,  the  chair  may  have  been  made  by  a 
man  who  worked  out  in  it  his  sense  of  fine  shapes  and  curves  and  propor- 
tions :  it  may  be,  actually,  a  work  of  art.  The  same  thing  holds  for  shapes 
of  letters.  And  your  chair,  or  your  letter  (if  a  true  artist  made  it)  will 
have,  besides  its  good  looks,  a  suitability  to  the  wth  degree  to  be  sat  in,  or 
stamped  on  paper  and  read.  That  explains,  in  a  way,  why  the  experts 
rave  over  the  fine  shapes  of  letters ;  but  it  fails  to  explain  wherein  the 
shapes  are  fine.  If  you  seek  to  go  further  with  the  inquiry,  theories  will 
be  your  only  answer.  Here  is  a  theory  that  the  proponent  thinks  may 
have  sense  in  it :  Fine  type  letters  were,  in  the  first  place,  copies  of  fine 
written  letters.  Fine  written  letters  were  fine  because  they  were  pro- 
duced in  the  most  direct  and  simple  way  by  a  tool  in  the  hands  of  a  person 
expert  in  its  use,  by  a  person,  moreover,  who  was  an  artist,  i.e.,  a  person 
equipped  to  make  sound  judgments  about  lines,  curves,  proportions, 
etc.  The  artist  of  that  moment  when  printing  was  invented  who  fur- 
nished the  fine  written  j)atterns  for  type  was  (luckily  for  printing)  work- 
ing at  the  top  notch  of  a  fine  tradition  of  calligraphy.  He  was  making 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  de- 
sign? UHiy  do  the  pace-malxers  in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Wliy  is  it  so  superlatively  pleasant 

(two  point  leaded) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ^ 

ABCDEFGHIJKLMNOrQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflfffiiffl  ($£,.:;'-'?!*t|p)  1234567890 
ahcdefgMjldmnopqrstuvwxyzfiflffffiffl  ($'£,. :/-'?!  tip)  1234567890 

Matrix  Information:  12A10.  Lower  case  alphabet,  155  points.  Figures,  .084;  coniiTia.  period  and  thin  space.  .042.  Runs  in  90 
channel  magazine.  Code  word,  ODHA. 


788 


LINOTYPE    SCOTCH 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TY    U 


FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  W 

How  IS  ONE  to  assess  and  evaluate  a  tyi)e  face  in  terms  of  its 
esthetic  design?  Why  do  the  pace-makers  in  the  art  of  print- 
ing" rave  over  a  specific  face  of  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design 
is  always  pr^actical  design.  And  what  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fitness  to  perform  its 
work.  It  has  a  "heft"  and  halance  in  all  of  its  parts  just  right 
for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  exactly  the  work  that 
the  chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny" 
and  weak,  no  waste  of  material  and  no  lack  of  strength.  And, 
beyond  that,  the  chair  may  have  been  made  by  a  man  who 
worked  out  in  it  his  sense  of  fine  shapes  and  curves  and  pro- 
portions: it  may  be,  actually,  a  work  of  art.  The  same  thing 
holds  for  shapes  of  letters.  And  your  chair,  or  your  letter 
(if  a  true  artist  made  it)  will  have,  besides  its  good  looks,  a 
suitability  to  the  nth  degree  to  be  sat  in,  or  stamped  on  paper 

How  is  one  to  assess  and  evaluate  a  type  face  in  tej^ms  of  its 
esthetic  design?  Why  do  the  pace-makers  in  the  art  of  pinnt- 


(tzvo  piniit  1,'aJid) 


How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its 
esthetic  design?  Why  do  the  pace-makers  in  the  art  of  print- 
ing- rave  over  a  specific  face  of  type?  What  do  they  see  in  it? 

NOTE — Long  descenders,  g.  j.  f.  g  and  v,  are  made  as  one-letter  matriees  and  tcill  not  east  on  less  than  li  j^tint  sings.  tVhen 

using  these  descenders  on  i.5  t^oint  or  larger  slugs  only  eharaelers  in  the  roman  position  of  the  I'ont  can  he  used.  If  the  italic 

characters  in  the  an.riliary  position  were  cast  on  a  slug  larger  than  14  point  the  metal  wonld  run  into  both  positions. 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZS^ 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyzfiflffffiffl  ($£,.:  ;;-'?!*t)  123456 

abcdefghijkltJinopqrstnvwxyzfifijfffiffl  ($£,.:/-'?!  -fjl 23Ji56 

Matri.r  Information  :  \At\\A2.  Lower  rase  alpluibrt,  IWi  points.  Fii;nres.  .O'K.S:  comma,  pcrioil  anil  thin  Miaie.  .(MX4.  Kuns  in  90 
channel  maga/ine.  Tode  word,  ODIK. 


point 


789 


LINOTYPE    SCOTCH 


18  HOW  IS  ONE  TO  ASSESS  AND  EVALU 
point   p^Q^y  j^  Qj^g  -j-Q  ^^^Q^^  and  evaluate  a  type  face  in 

terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it 
so  superlatively  pleasant  to  their  eyes?  Good 
design  is  always  practical  design.  And  what 


(four  point  leaded) 


ABCDEFGHIJKLMNOPQRSTUVWX 

abcdefghijklmnopqrstuvwxyzfiflflfflfiffl 
12345($,.:;'-'?!)67890 

Matrix  Information:  18A195.  Lower  case  alphabet.  235  points.  Figure  1,  .0968;  2  to  0,  .1245.  Runs  in  72  channel  magazine;  also 
lower  case  in  cap  channels  of  90  channel  magazine  with  caps  and  figures  in  34  channel  auxiliary  magazine.  Code  word,  ODIR. 


C     LINOTYPE""') 

18  How  is  one  to  assess  and  evaluate  a  type  face  in 
point  i^y^r^yi^  qj  j^^  esthctic  cUsign?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  spe- 
cific face  of  type?  What  do  they  see  in  itl  Why 
is  it  so  superlatively  pleasant  to  their  eyes? 
Good  desig7i  is  always  practical  design.  And 
what  they  see  in  a  good  type  design  is,  partly, 


(four  point  leaded) 


ABCDEFGHIJKLMNOPQRSTUVW 

abcdefghijklnuiopqrstuvwxyzfiflffffiffl 

123i5($,.:;'-'^.!)67890 

Matrix  Injormation:  18A197.  Lower  case  alphabet,  236  points.  Figures.  .1245.  Runs  in  72  channel  magazine;  also  lower  case 
in  cap  channels  of  90  channel  magazine  with  caps  and  figures  in  34  channel  auxiliary  magazine.  Code  word,  ODLO. 


790 


LINOTYPE    SCOTCH 


How  is  one  to  assess  and  evaluate  a  ^^. 
type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in 
the  art  of  printing  rave  over  a  spe- 
cific face  of  type?  Wh  abcdefghijkl 
mnopqrstuvwxyzfiflffffiffl  ($,. : ;'-'? !) 


(Untr  foint  Icadrd) 


ABCDEFGHIJKLMNOPQRS 
TU  VWX  YZ&  1234567890 

Matrix  Information  :  24A171.  Lower  case  alphabet,  307  points.  Figure  1,  .1383;  2  to  0,  .lf>G.  Runs  in  Wide  72  channel  magazine; 
also  Idwer  case,  except  in  and  w,  in  cap  channels  of  90  channel  inaKazine  with  taps  and  figures  in  Wide  34  channel  auxiliary 
magazine.  Code  word,  ODJE. 


-('  "LINOTYPE"")- 


How  can  one  assess  and  eval-  ^^^^ 
uate  a  type  face  in  terms  of  its 
esthetic  design?  Why  do  the 
many  abcdefghijklmnopqrst 
uvwxyz  ($,.:;'-'?!)  1234567890 

(four  point  leaded ) 

ABCDEFGHIJKLMNOP 
QRSTUVWXYZ& 

Matrix  Inlormatidii:  30A107.  I.nwer  case  alphahet.  i7(>  points.  FiKiire  I.  .I7')8:  2  to  0.  .2n7.S.  Runs  in  Wide  72  channel  maga- 
zine; als"  lower  case,  except  m.  in  cap  channels  of  72  channel  inaKa/ine  with  caps  arjd  liKures  in  Wide  34  channel  auxiliary 
magazine.  Code  word.  ODKI. 


791 


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TEXTYPE 


Linotype  Textype  is  a  contemporary  book  and  periodical 
face  designed  to  meet  modern  printing  conditions.  It  is  clear, 
readable,  graceful,  with  an  absence  of  any  manneristic  or 
period  tendencies  in  design.  Its  excellent  color  and  lack  of 
pronounced  distinction  in  thick  and  thin  strokes  enable  it, 
as  a  foremost  critic  has  pointed  out,  "to  print  clearly  under 
severe  conditions  of  paper,  ink  and  speed." 
Textype  is  available  in  eight  sizes  in  combination  with  italic, 
from  6  to  18  point,  with  small  capitals  available  in  6  to  14 
point  sizes.  It  is  also  cut  in  combination  with  Bold  Face  No.  2, 
to  meet  a  demand  for  side  and  sub-head  emphasis,  in  seven 
sizes,  from  6  to  14  point.  You  will  find  Textype  possesses  the 
happy  faculty  of  being  at  home  with  either  old  style  or  mod- 
ern display  faces.  It  looks  well  combined  with  Garamond, 
Narciss,  Cloister  Bold  and  Vulcan  Bold— as  well  as  the  newer 
flat  serif  and  sans  serif  faces  such  as  Memphis  and  Metro. 


MERGENTHALER  LINOTYPE  COMPANY,  BROOKLYN,  NEW  YORK 

NEW  YORK  CITY,  CHICAGO,  NEW  ORLEANS,  SAN  FRANCISCO.  CANADIAN  LINOTYPE, 
LIMITED,  TORONTO.  REPRESENTATIVES  IN  THE  PRINCIPAL  CITIES  OF  THE  WORLD 


6-18  pt. 


COMPARISON   OF   SIZES 


Linotype  Textype  with  Italic  and  Small  Caps 

6  Point  (6A.V)4)  l.nwer  case  alphabet.  102  points.  Figures.  .0484 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-make  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-make  vbcd 

7  I'.iinl  (7A1'-I  Lower  case  alphabet.  llOp.iiiits.  Figures.  .(M.S4 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pac  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pac  vbcd 

8  I't'int  (SA-^^'f'l  Lower  case  alphabet,  115  points.  Figures,  .0553 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  th  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  th  vbcd 

9  Point  (^Al--I  Lower  case  alphabet,  125  points.  Figures.  .0622 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Wh  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Wh  vbcd 

II)  point   n(JA.l-41  Lower  case  alphabet.  136  points.  Figures.  .0692 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  desig  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  desig  1234 

12  Point  il2A324i  Lower  case  alphabet.  153  points.  Figures,  .083 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthe  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  jace  in  terms  of  its  esthe' vbcd 

14  Point  (14A220)  Lower  case  alphabet.  167  points.  Figures.  .0968 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  it  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  it  vbcd 

I.v  Ponil    (1SA3(II  Lourr  ..i^e  alphabet,  _'li,  points.   Figures.     1107 

HOW  IS  one  to  assess  and  evaluate  a  type  face  i  1234 
HOW  IS  one  to  assess  and  evaluate  a  type  face  i  1234 


6-14  pt.  ("LINOTYPE^ 

Linotype  Textype  with  Bold  Face  No.  2 

•,  Point  (6A2y6)  L.iuer  tase  alphabet,  102  points.  Figures.  .0484 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-make  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-make  1234 

7  Point  (7A130)  Lower  .asc  alphabet.    Ill)  points.   FiKiires.  .0484 

HOW  IS  ONE  to  assess  and  evaluate  a  type  'ace  in  terms  of  its  esthetic  design?  Why  do  the  pac  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pac  1234 

8  Poml    IXA.W4)  Lower  case  alphabet,  11.=.  points.  Figures.  .().=;.^3 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  th  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  th  1234 

y  Point   (VAIIXI  Lower  .ase  alpbabel.   12^  i).>ints,   Fisnres.  .0622 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Wh  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Wh  1234 

In  i'oint   (1()A222)  Lower  case  alphabet,  136  points.  F'igures,  .0692 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  desig  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  desig  1234 

12  Point   (12A'I0i  Lower  case  alphabet,  l.i.l  points.   Figures.  .08.? 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthe  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthe  1234 

14   Polnl    (I4A1''4I  Lowei    lasc  ,ilpli.il)ct,    li,7i...nits     FiKure^,   .09(.S 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  it  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  it  1234 


794 


LINOTYPE   TEXTYPE   WITH    ITALIC 


Six    Point 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WH 
DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  OF  TYPE?  WHA 

How  IS  ONE  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Wtiy  do  tlie  pace-mak- 
ers in  tlie  art  of  printing  rave  over  a  specific  face  of 
type?  Wliat  do  they  see  in  it?  Why  is  it  so  superla- 
tively pleasant  to  their  eyes?  Good  design  is  always 
practical  design.  And  what  they  see  in  a  good  type 
design  is.  partly,  its  excellent  practical  fitness  to 
perform  its  work.  It  has  a  "heft"  and  balance  in  all 
of  its  parts  just  right  for  its  size,  as  any  good  tool 
has.  Your  good  chair  has  all  of  its  parts  made  nicely 
to  the  right  size  to  do  exactly  the  work  that  the 
chair  has  to  do,  neither  clumsy  and  thick,  nor 
"skinny"  and  weak,  no  waste  of  material  and  no 
lack  of  strength.  And.  beyond  that,  the  chair  may 
have  been  made  by  a  man  who  worked  out  in  it  his 


How  IS  ONE  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace-mak- 
ers in  the  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it  so  superla- 
tively pleasant  to  their  eyes?  Good  design  is  always 
practical  design.  And  what  they  see  in  a  good  type 
design  is.  partly,  its  excellent  practical  fitness  to 
perform  its  work.  It  has  a  "heft"  and  balance  in  all 
of  its  parts  just  right  for  its  size,  as  any  good  tool 
has.  Your  good  chair  has  all  of  its  parts  made  nicely 
to  the  right  size  to  do  exactly  the  work  that  the 
chair  has  to  do.  neither  clumsy  and  thick,  nor 
"skinny"  and  weak,  no  waste  of  material  and  no 
lack  of  strength.  And.  beyond  that,  the  chair  may 
have  been  made  by  a  man  who  worked  out  in  it  his 
sense  of  fine  shapes  and  curves  and  proportions:  it 
may  be.  actually,  a  work  of  art.  The  same  thing 
holds  for  shapes  of  letters.  And  your  chair,  or  your 
letter  (if  a  true  artist  made  it)  will  have,  besides  its 
good  looks,  a  suitability  to  the  ?ith  degree  to  be  sat 
in.  or  stamped  on  paper  and  read.  That  explains,  in 
a  way.  why  the  experts  rave  over  the  fine  shapes  of 
letters;  but  it  fails  to  explain  wherein  the  shapes 
Hoiv  is  one  to  assess  and  evahiate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace-mak- 
ers in  the  art  of  printing  rave  over  a  specific  face  of 

(■tolid) 

List  o]  C  luiinch-i  s 


How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace-mak- 
ers in  the  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it  so  superla- 
tively pleasant  to  their  eyes?  Good  design  is  always 
practical  design.  And  what  they  see  in  a     g  j  p  q  y 


Ii 


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Fun  I 


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ABCDEFGHUKLMNOPQRSTUVWXYZ&MCE 

ABCDEFGHIJKLMNOPQBSTUVWXYZ&.TCE 


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h^M\A.    I.nwer  i-;i 
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;ili.h.ii)el.    102  p. 


lima,   ppvitKl  , 


("LINOTYPE"") 

Seven   Point 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DES 
WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  O 
How  IS  ONE  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it 
so  superlatively  pleasant  to  their  eyes?  Good 
design  is  always  practical  design.  And  what 
they  see  in  a  good  type  design  is.  partly,  its  ex- 
cellent practical  fitness  to  perform  its  work.  It 
has  a  "heft"  and  balance  in  all  of  its  parts  just 
right  for  its  size,  as  any  good  tool  has.  Your  good 
chair  has  all  of  its  parts  made  nicely  to  the  right 
size  to  do  exactly  the  work  that  the  chair  has 
to  do,  neither  clumsy  and  thick,  nor  "skinny" 
and  weak,  no  waste  of  material  and  no  lack  of 
strength.  And.  beyond  that,  the  chair  may  have 
been  made  by  a  man  who  worked  out  in  it  his 
sense  of  fine  shapes  and  curves  and  propor- 
tions: it  may  be,  actually,  a  work  of  art.  The 
same  thing  holds  for  shapes  of  letters.  And  your 
chair,  or  your  letter  ( if  a  true  artist  made  it) 
will  have,  besides  its  good  looks,  a  suitability  to 
the  Tith  degree  to  be  sat  in.  or  stamped  on  paper 
and  read.  That  explains,  in  a  way.  why  the  ex- 
How  is  one  to  assess  and  evahiate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rai^e  oi^er  a  specific 


How  IS  ONE  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it 
so  superlatively  pleasant  to  their  eyes?  Good 
design  is  always  practical  design.  And  what 
they  see  in  a  good  type  design  is,  partly,  its  ex- 
cellent practical  fitness  to  perform  its  work.  It 
has  a  "heft"  and  balance  in  all  of  its  parts  just 
right  for  its  size,  as  any  good  tool  has.  Your  good 
chair  has  all  of  its  parts  made  nicely  to  the  right 
size  to  do  exactly  the  work  that  the  chair  has 
to  do,  neither  clumsy  and  thick,  nor  "skinny" 
and  weak,  no  waste  of  material  and  no  lack  of 
strength.  And,  beyond  that,  the  chair  may  have 
been  made  by  a  man  who  worked  out  in  it  his 
sense  of  fine  shapes  and  curves  and  propor- 
tions: it  may  be,  actually,  a  work  of  art.  The 
same  thing  holds  for  shapes  of  letters.  And  your 
chair,  or  your  letter  (if  a  true  artist  made  it) 
will  have,  besides  its  good  looks,  a  suitability  to 
the  nth  degree  to  be  sat  in.  or  stamped  on  paper 
and  read.  That  explains,  in  a  way.  why  the  ex- 

I  solid)  I   'iH-  poiul  Inulrdl 

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ABCDEFGHlJKLMNOPQRSTUVWXYZ&/E(E 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&;E(E 

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abcdefghijklmnopqrstnvwxyzcecefifijfffiffl  1234567890 $£,.:;-"?! . . .       ()C(im  tJHSI  ]%  V»V4%V2%W/8 


6pt. 


7pt. 


.Maliix  hifiirnia. 
ch.-iiiiiol  iii;ii;;t/in 


7.^1, ij.   I  ..ucr  I. 
rxie  wiird.  ZIGA. 


.ilift.   I  III  ,„ 


795 


8pt. 


LINOTYPE   TEXTYPE   WITH    ITALIC 


Eight   Point 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC 
DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPE 
How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it 
so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  practical  design.  And  what  they 
see  in  a  good  type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair 
has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do, 
neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of  material  and  no  lack  of  strength. 
And,  beyond  that,  the  chair  may  have  been  made  by  a  man  who  worked  out  in  it  his  sense  of 
fine  shapes  and  curves  and  proportions:  it  may  be,  actually,  a  work  of  art.  The  same  thing  holds 
for  shapes  of  letters.  And  your  chair,  or  your  letter  (if  a  true  artist  made  it)  will  have,  besides 
its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That 
explains,  in  a  way,  why  the  experts  rave  over  the  fine  shapes  of  letters;  but  it  fails  to  explain 
wherein  the  shapes  are  fine.  If  you  seek  to  go  further  with  the  inquiry,  theories  will  be  your 
only  answer.  Here  is  a  theory  that  the  proponent  thinks  may  have  sense  in  it:  Fine  type  letters 
were,  in  the  first  place,  copies  of  fine  written  letters.  Fine  written  letters  wei-e  fine  because  they 
were  produced  in  the  most  direct  and  simple  way  by  a  tool  in  the  hands  of  a  person  expert  in  its 
use,  by  a  person,  moreover,  who  was  an  artist,  i.e.,  a  person  equipped  to  make  sound  judgments 
about  lines,  curves,  proportions,  etc.  The  artist  of  that  moment  when  printing  was  invented  who 
furnished  the  fine  written  patterns  for  type  was  (luckily  for  printing)  working  at  the  top  notch 
of  a  fine  tradition  of  calligraphy.  He  was  making  sound  judgments  about  lines  and  curves  and 
proportions  of  letters.  He  had  resurrected  an  ancient  distinguished  style  of  writing  and  had 
added  to  it  the  quality  of  his  own  fine  taste.  His  letters  flowed  from  his  pen  easily  and  simply, 
without  any  tricks  or  affectations  or  extraneous  embellishments.  He  was  simple  enough  and 
artist  enough  to  let  the  implement  itself  (and  his  facile  hand)  shape  the  product.  The  fine  quali- 
ties of  this  artist's  letter-forms  were  carried  over  into  the  metal  types  and  sealed  up  there,  like 
butterflies  in  amber.  It  is  argued,  however,  that  the  ascription  of  beauty  to  type  letters  by  this 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it 
so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  practical  desig^i.  And  what  they 

I  tzvo  1^,'inl  trail, -d  I 

How  IS  ONE  to  assess  and  evaluate  a  type  face  How  is  one  to  assess  and  evaluate  a  type  face 

in  terms  of  its  esthetic  design?  Why  do  the  in  terms  of  its  esthetic  design?  Why  do  the 

pace-makers  in  the  art  of  printing  rave  over  pace-makers  in  the  art  of  printing  rave  over 

a  specific  face  of  type?  What  do  they  see  in  it?  ^  specific  face  of  type?  What  do  they  see  in  it? 

Why  IS  It  so  superlatively  pleasant  to  their  ^^     ^^  .^  ^^  superlatively  pleasant  to  their 

eyes."^  Good  design  is  always  practical  di^sign.  n  ^      ,   ,     .        .      ,                      .     ,   ,     . 

And  what  they  see  in  a  good  type  design  is,  ^y^f  Good  design  is  ahvays  practical  design. 

partly,  its  excellent  practical  fitness  to  per-  And  what  they  see  in  a  good  type  design  is, 

form  its  work.  It  has  a  "heft"  and  balance  in  '"'"' '"""'  '''"'''''" 

all  of  its  parts  just  right  for  its  size,  as  any  How  is  one  to  assess  and  evaluate  a  type  face 

good  tool  has.  Your  good  chair  has  all  of  its  j^  terms  of  its  esthetic  design?  Why  do  the 

parts  made  nicely  to  the  right  size  to  do  ex-  ^.^^^kers  in  the  art  of  printing  rave  over 

actly  the  work  that  the  chair  has  to  do,  neither  ^          -j-    r          r  ^        n -.iti     ,   i    ,i               •     -.o 

clumsy  and  thick,  nor  "skinny"  and  weak,  no  ^  specific  face  of  type?  What  do  they  see  in  it? 

waste   of  material  and   no   lack   of  strength.  Why  is  it  so  superlatively  pleasant  to  their 

And,  beyond  that,  the  chair  may  have  been  eyes?  Good  design  is  always  practic     g  j  p  q  y 

(solid)  (set  -with  long  dcsccndci  s,  on  ninr  f^oint  body) 

List  oi  Chariirtcrs  in  Tuw-Lettcr  Font 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&i^CE 
ABCDEFGHIJKLMNOPQRSTVVWXYZ&JECE 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&.ECE 

abcdefghijklmnopqrstuvwxyzaeoefiflffffiffl  1234567890  $£,.:;-"?! .  . .  ()@Ib*tt11§[]% 

abcdefghijklmnopqrstuvwxyz<zoefifl.ffffiffl  1234567890  $£,.:;-"?! . . .  ()@lb  ttt§[]% 

1/81/4%%%%% 

y8y4%y2%%% 

Matrix  Information:  8A396.  Lower  case  alphabet,  115  points.  FiKures.  .0553;  comma,  period  and  thin  space,  .0277.  Runs  in  90 
ciiamiel  magazine.  Code  word.  ZIGO. 


796 


LINOTYPE   TEXTYPE   WITH    ITALIC 


9pt. 


Nine  Point 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ES 
DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OV 
How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in 
it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  practical  de- 
sign. And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent  practical  fitness  to 
perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do 
exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and 
weak,  no  waste  of  material  and  no  lack  of  strength.  And,  beyond  that,  the  chair  may 
have  been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and  curves  and 
proportions:  it  may  be,  actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of  let- 
ters. And  your  chair,  or  your  letter  (if  a  true  artist  made  it)  will  have,  besides  its  good 
looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That 
explains,  in  a  way,  why  the  experts  rave  over  the  fine  shapes  of  letters;  but  it  fails  to 
explain  wherein  the  shapes  are  fine.  If  you  seek  to  go  further  with  the  inquiry,  theo- 
ries will  be  your  only  answer.  Here  is  a  theory  that  the  proponent  thinks  may  have 
sense  in  it:  Fine  type  letters  were,  in  the  first  place,  copies  of  fine  written  letters.  Fine 
written  letters  were  fine  because  they  were  produced  in  the  most  direct  and  simple  way 
by  a  tool  in  the  hands  of  a  person  expert  in  its  use,  by  a  person,  moreover,  who  was  an 
artist,  i.e.,  a  person  equipped  to  make  sound  judgments  about  lines,  curves,  proportions, 
etc.  The  artist  of  that  moment  when  printing  was  invented  who  furnished  the  fine  writ- 
ten patterns  for  type  was  (luckily  for  printing)  working  at  the  top  notch  of  a  fine  tradi- 
tion of  calligraphy.  He  was  making  sound  judgments  about  lines  and  curves  and  pro- 
portions of  letters.  He  had  resurrected  an  ancient  distinguished  style  of  writing  and  had 
added  to  it  the  quality  of  his  own  fine  taste.  His  letters  flowed  from  his  pen  easily  and 
simply,  without  any  tricks  or  affectations  or  extraneous  embellishments.  He  was  simple 
enough  and  artist  enough  to  let  the  implement  itself  (and  his  facile  hand)  shape  the 
product.  The  fine  qualities  of  this  artist's  letter-forms  were  carried  over  into  the  metal 
types  and  sealed  up  there,  like  butterflies  in  amber.  It  is  argued,  however,  that  the 
ascription  of  beauty  to  type  letters  by  this  route  (i.e.,  via  the  standards  of  calligraphy) 
is  false  logic.  If  the  natural  and  simple  and  tastefully  controlled  use  of  an  implement 
prodvices  a  fine  result,  why  not  start  with  the  process  of  founding  type  instead  of  with 
the  process  of  writing  with  a  pen?  Why  not  cut  punches  and  strike  matrices  and  cast 
type  metal  simply  and  naturally  and  tastefully,  and  make  types  that  reflect  a  suitable 
artistic  use  of  the  process  of  typefounding?  I  think  that  the  argument  is  esthetically 
sound.  There  is  no  common  opinion  about  the  legibility  or  grace  or  vigor  of  various 
How  is  one  to  assess  and  evaluate  a  type  face  hi  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  ai-t  oj  printing  rave  over  a  specific  face  of  type?  What  do  titey  see  in 
it?  Why  is  it  so  superlath^ely  pleasant  to  their  eyes?  Good  design  is  ahoays  practical  de- 

tni'ii  p,niil  Iriiflrii) 
I.ixl  ,<l  l'liiii<,ctr>.<:  ill   'I'-vo-f  i-ll.r  l-,n,t 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 
ABCDEFGHIJKLMNOPQRSTUYWXYZ&MCE 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 

abcdefghijklmnopqrstuvwxvzaecefiflfTffiffl  1234567890  $£,.:;-"?!-!—.  .  .  ()®lb 
ahcdefghijkhnnopcirstnviaxyzosoefifljjffiffl  1234567890  $£,.:;-"?! .  ..O&tb 

*  t$1I§  [  ]  %  Vs  1/4  %  Vz  %  %  % 

nmWcVs  V4  %  V2  %  %  % 

Matrix  InU'rniation:  9A\^2.   I.owci   r.t^t-  iilpliabet.   \2S  points.   I-ikhios.    D'.JJ:  o-nniia.  pni-.d  and  thin  spa.e.  .(MM     Uiiii*;  in  On 
channel  niaKa/ine.  Cude  wiir<l.  ZIIH'. 


797 


r 


10  pt. 


LINOTYPE   TEXTYPE   WITH    ITALIC 


Ten    Point 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF 
ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF 
How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design 
is  always  practical  design.  And  what  they  see  in  a  good  type  design  is,  partly,  its 
excellent  practical  fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of 
its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do, 
neither  clumsy  and  thick,  nor  "skinriy"  and  weak,  no  waste  of  material  and  no 
lack  of  strength.  And,  beyond  that,  the  chair  may  have  been  made  by  a  man  who 
worked  out  in  it  his  sense  of  fine  shapes  and  curves  and  proportions:  it  may  be, 
actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of  letters.  And  your  chair, 
or  your  letter  (if  a  true  artist  made  it)  will  have,  besides  its  good  looks,  a  suitabil- 
ity to  the  nth  degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That  explains,  in 
a  way,  why  the  experts  rave  over  the  fine  shapes  of  letters;  but  it  fails  to  explain 
wherein  the  shapes  are  fine.  If  you  seek  to  go  further  with  the  inquiry,  theories 
will  be  your  only  answer.  Here  is  a  theory  that  the  proponent  thinks  may  have 
sense  in  it:  Fine  type  letters  were,  in  the  first  place,  copies  of  fine  written  letters. 
Fine  written  letters  were  fine  because  they  were  produced  in  the  most  direct  and 
simple  way  by  a  tool  in  the  hands  of  a  person  expert  in  its  use,  by  a  person,  more- 
over, who  was  an  artist,  i.e.,  a  person  equipped  to  make  sound  judgments  about 
lines,  curves,  proportions,  etc.  The  artist  of  that  moment  when  printing  was  in- 
vented who  furnished  the  fine  written  patterns  for  type  was  (luckily  for  printing) 
working  at  the  top  notch  of  a  fine  tradition  of  calligraphy.  He  was  making  sound 
judgments  about  lines  and  curves  and  proportions  of  letters.  He  had  resurrected 
an  ancient  distinguished  style  of  writing  and  had  added  to  it  the  quality  of  his  own 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is 

"■.vo  fi'itit  leaded  > 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design 
is  always  practical  design.  And  what  they  see  in  a  good  type  design  is,  partly,  its 
excellent  practical  fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of 
its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair  has     g  j  P  q  y 

(set  with  lung  descenders,  on  eleven  l^oinl  biidy} 
List  o\  Clniraeleis  in    I -H'o-Lettei   Font 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&i^GE 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 

abcdefghijklmnopqrstuvwxyzaeoefiflffffiffl  1234567890  $£,.:;-"?!-!  —  ...() 
ahcdefghijklmnopqrstuvwxyzoeoefifliJffiffl  1234567890  $£..:;-"?! .  .  .() 

@tb*t.n§[]  %   1/81/4%  V2%%% 

@  ?B  fmu  %  Vs  1/4  %  1/2  %  %  % 

Matrix  Information :  10A324.  Lower  case  alphabet.  136  points.  Figures.  .0692;  comma,  period  and  thin  space.  .0346.  Runs  in  90 
channel  maRa/ine.  ('(ule  word.  ZIKA. 


798 


LINOTYPE   TEXTYPE    WITH    ITALIC 


12  pt. 


Twelve   Point 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERM 
OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE 
How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makei's  in  the  ai't  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to 
their  eyes?  Good  design  is  always  practical  design.  And  what  they  see  in 
a  good  type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its 
work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size, 
as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to 
the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither 
clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of  material  and  no 
lack  of  strength.  And,  beyond  that,  the  chair  may  have  been  made  by  a 
man  who  worked  out  in  it  his  sense  of  fine  shapes  and  curves  and  propor- 
tions: it  may  be,  actually,  a  work  of  art.  The  same  thing  holds  for  shapes 
of  letters.  And  your  chair,  or  your  letter  (if  a  true  artist  made  it)  will 
have,  besides  its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or 
stamped  on  paper  and  read.  That  explains,  in  a  way,  why  the  experts 
rave  over  the  fine  shapes  of  letters;  but  it  fails  to  explain  wherein  the 
shapes  are  fine.  If  you  seek  to  go  further  with  the  inquiry,  theories  will  be 
your  only  answer.  Here  is  a  theory  that  the  proponent  thinks  may  have 
sense  in  it:  Fine  type  letters  were,  in  the  first  place,  copies  of  fine  written 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to 
their  eyes?  Good  design  is  always  practical  design.  And  what  they  see  in 
a  good  type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its 
work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  fo     g  j  p  q  y 

I  srt  nnlh   l.nin  d,•sr,■lt</l■t^.  ,'ii  thirt,;-n  foiiil  hndy) 
I  i,t  .■<  1   li,n,u  t.'i  s   HI    I  Ti',-/  .(/-I    l^'itl 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 

abcdefghijklmnopqrstuvwxyzseoefiflffffiffi  1234567890  $£,.:;-|7!-  — 
ahcdefghijklmnopqrstuvwxyzcEoefifljJfJiiJl  1234567890  $£,.:;-"?! 

...()(r/'tb*ttii^l  I',  y8y4%V2%%y8 

...()(Fvm     imW'/r   V8V4%V2%%y8 

Matrix  hu.nwatu'i!  IJA-^^M,  I.MUt-r  <;i^c  ;iip»i;ib.-t .  1.^,^  iinnils.  Fmiires,  .t)K,^;  i-.-imna.  \n-ru->\  .iml  thin  ^piuc.  .O-ll.^.  Kniis  in  90 
ilianncl  iiiaK.i/iiic-  ("ucie  word.  ZACKT. 


799 


n 


14  pt. 


LINOTYPE   TEXTYPE   WITH    ITALIC 


Fourteen    Point 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE 
IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE- 
How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic 
design?  Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a 
specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so  super- 
latively pleasant  to  their  eyes?  Good  design  is  always  practical 
design.  And  what  they  see  in  a  good  type  design  is,  partly,  its  excel- 
lent practical  fitness  to  perform  its  work.  It  has  a  "heft"  and  bal- 
ance in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has. 
Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to 
do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and 
thick,  nor  "skinny"  and  weak,  no  waste  of  material  and  no  lack 
of  strength.  And,  beyond  that,  the  chair  may  have  been  made  by  a 
man  who  worked  out  in  it  his  sense  of  fine  shapes  and  curves  and 
proportions:  it  may  be,  actually,  a  work  of  art.  The  same  thing 
holds  for  shapes  of  letters.  And  your  chair,  or  your  letter  (if  a  true 
artist  made  it)  will  have,  besides  its  good  looks,  a  suitability  to  the 
nth  degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That  ex- 
plains, in  a  way,  why  the  experts  rave  over  the  fine  shapes  of  let- 
ters; but  it  fails  to  explain  wherein  the  shapes  are  fine.  If  you  seek 
to  go  further  with  the  inquiry,  theories  will  be  your  only  answer. 
Here  is  a  theory  that  the  proponent  thinks  may  have  sense  in  it : 
Fine  type  letters  were,  in  the  first  place,  copies  of  fine  written  let- 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic 
design?  Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a 
specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so  super- 


(tzvo  Point  leaded) 
List  of  Characters  in  Ttvo-Letter  Font 


ABCDEFGHIJKLMNOPQRSTUVWXYZ&iECE 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&y^CE 

abcdefghijklmnopqrstuvwxyzaecefiflffffiffl  1234567890$ 
abcdefghijklmnopqrstuvwxyzceoefififffiffl  1234567890$ 

£,.:;-"?!-!— ...()(a)lb*nil§[]%  y8y4%V2%%% 
£,.:;-"?! ...{)@m   m§[]%  y8V4%V2%%% 

Matrix  Information  :  14A22f).  Lower  ciise  alphabet,  167  points.   Figures,  .0y68;  comma,  period  and  thin  space.  .0484.   Runs  in  90 
channel  magazine.  Code  word.  ZKMKE. 


800 


LINOTYPE   TEXTYPE   WITH    ITALIC 


18  pt. 


Eighteen    Point 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  T 
FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN? 
How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace-mak- 
ers in  the  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it  so  superla- 
tively pleasant  to  their  eyes?  Good  design  is  always 
practical  design.  And  what  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fitness  to 
perform  its  work.  It  has  a  "heft"  and  balance  in  all 
of  its  parts  just  right  for  its  size,  as  any  good  tool 
has.  Your  good  chair  has  all  of  its  parts  made  nicely 
to  the  right  size  to  do  exactly  the  work  that  the  chair 
has  to  do,  neither  clumsy  and  thick,  nor  "skinny" 
and  weak,  no  waste  of  material  and  no  lack  of 
strength.  And,  beyond  that,  the  chair  may  have 
been  made  by  a  man  who  worked  out  in  it  his  sense 
How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace-mak- 
ers in  the  art  of  printing  rave  over  a  specific  face  of 

List  ul   Lhanulm   m    I  7V,'- l.rll  ,-r  lunil 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdef  ghij  klmnopqrstuvwxyzfiflff  ffiffl  1234567890 

abcdefghijklmnopqrstuvwxyzfiflffffiffl  1234567890 


$,.:;-"?! 


-..()y8i4%y2%%% 


V8V4%V2y8V4V8 


Matrix  Inliirmatiun:  18A.TO.    I.mver  ca-.e  alphalirt ,   Jll,  points.    I'lKures,    .11(17;  ic.i.iiiih.   pen. ..I  ;im.1  Uiin   spate.   .O.SS.l    Runs  in  '»li 
.■hannel  nuiEa/ine.  VnAe  word.  ZIBZO. 


801 


r- 


TEXTYPE 

for 
Text  Books 

(LINOTYPE"   ) 


132 

Develop  the  sound  of  wh;  also  th  as  found  in  thin,  thick,  etc.  The 
modification  of  this  sound  as  found  in  this,  that,  etc.,  will  be  easily 
mastered  by  the  child.  Teach  th,  wh,  ch,  sh,  as  initial  sounds  grouped 
with  a  vowel,  thi-n,  cho-p.  For  application  see  pp.  22  fE. 


thin 

thick 

thing 

think 

thank 

chin 
chip 


She  hit  the  dish  of  red  paint. 
Over  went  the  paint 

on  Blackie. 
There  were  red  spots 

on  her  head. 
There  were  red  spots 

on  her  back. 
Her  feet  were  red  too. 

"Oh,  Nan!"  cried  Jimmie  Dale. 
"Do  not  call  your  cat  Blackie. 
Call  her  Spottie,  now." 

116 


then 


when         shed 


this 

whip 

shad 

them 

whim 

shot 

that 

whiff 

shell 

thus 

whist 

ship 

chap 

chill 

chun 

chat 

chick 

chop 

A  and  B,  are  a  review  of  sounds  taught: 


Group  A 

ck  shop 

ck  elm 

ap  plum 

iff  much 

ash  thing 

ess  swim 


chop 
fled 

flag 
sang 
sung 
speck 


Above:  A  primer  pase.  reset  in  8.  12  and  18  point 
Textype  from  the  Ginii  and  Company  The  New 
Beacon  Fritner  by  James  H.  Fassett. 

Left :  Text  and  illustration  from  Friends,  A  Primer 
hy  Mary  E.  Pennell  and  Alice  M.  Cusack.  published 
by  Oinn  and  Company,  Boston.  Mass.,  reset  in  18 
point  Textype  with  Italic.  The  illustration,  used 
through  the  courtesy  of  the  publisher,  is  by  Mar- 
guerite Davis. 


LINOTYPE   TEXTYPE   WITH    BOLD    FACE    No.  2 


Six   Point 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WH 
DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  OF  TYPE?  WHA 


How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace-mak- 
ers in  the  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it  so  superla- 
tively pleasant  to  their  eyes?  Good  design  is  always 
practical  design.  And  what  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fitness  to 
perform  its  work.  It  has  a  "heft"  and  balance  in  all 
of  its  parts  just  right  for  its  size,  as  any  good  tool 
has.  Your  good  chair  has  all  of  its  parts  made  nicely 
to  the  right  size  to  do  exactly  the  work  that  the 
chair  has  to  do,  neither  clumsy  and  thick,  nor 
"skinny"  and  weak,  no  waste  of  material  and  no 
lack  of  strength.  And,  beyond  that,  the  chair  may 
have  been  made  by  a  man  who  worked  out  in  it  his 
sense  of  fine  shapes  and  curves  and  proportions:  it 
may  be,  actually,  a  work  of  art.  The  same  thing 
holds  for  shapes  of  letters.  And  your  chair,  or  your 
letter  (if  a  true  artist  made  it)  will  have,  besides  its 
good  looks,  a  suitability  to  the  nth  degree  to  be  sat 
in,  or  stamped  on  paper  and  read.  That  explains,  in 
a  way,  why  the  experts  rave  over  the  fine  shapes  of 
letters;  but  it  fails  to  explain  wherein  the  shapes 
are  fine.  If  you  seek  to  go  further  with  the  inquiry, 
theories  will  be  your  only  answer.  Here  is  a  theory 
How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace-mak- 
ers in  the  art  of  printing  rave  over  a  specific  face  of 


,-//,/ 1 


How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace-mak- 
ers in  the  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it  so  superla- 
tively pleasant  to  their  eyes?  Good  design  is  always 
practical  design.  And  what  they  .see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fitness  to 
perform  its  work.  It  has  a  "heft"  and  balance  in  all 
of  its  parts  just  right  for  its  size,  as  any  good  tool 
has.  Your  good  chair  has  all  of  its  parts  made  nicely 
to  the  right  size  to  do  exactly  the  work  that  the 
chair  has  to  do,  neither  clumsy  and  thick,  nor 
"skinny"  and  weak,  no  waste  of  material  and  no 
lack  of  strength.  And,  beyond  that,  the  chair  may 
have  been  made  by  a  man  who  worked  out  in  it  his 
sen.se  of  fine  .shapes  and  curves  and  proportions:  it 
may  be,  actually,  a  work  of  art.  The  same  thing 
holds  for  shapes  of  letters.  And  your  chair,  or  your 
letter  (if  a  true  artist  made  it)  will  have,  besides  its 
good  looks,  a  suitability  to  the  nth  degree  to  be  sat 
in,  or  stamped  on  paper  and  read.  That  explains,  in 
a  way,  why  the  experts  rave  over  the  fine  shapes  of 
letters;  but  it  fails  to  explain  wherein  the  shapes 
are  fine.  If  you  seek  to  go  further  with  the  inquiry. 


Ch, 


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abcdefghijklmnopqrstuvwxyz&;ece 


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("LINOTYPE""') 

Seven    Point 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DES 
WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  O 


How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it 
so  superlatively  pleasant  to  their  eyes?  Good 
design  is  always  practical  design.  And  what 
they  see  in  a  good  type  design  is,  partly,  its  ex- 
cellent practical  fitness  to  perform  its  work.  It 
has  a  "heft"  and  balance  in  all  of  its  parts  just 
right  for  its  size,  as  any  good  tool  has.  Your  good 
chair  has  all  of  its  parts  made  nicely  to  the  right 
size  to  do  exactly  the  work  that  the  chair  has 
to  do,  neither  clumsy  and  thick,  nor  "skinny" 
and  weak,  no  waste  of  material  and  no  lack  of 
strength.  And,  beyond  that,  the  chair  may  have 
been  made  by  a  man  who  worked  out  in  it  his 
sense  of  fine  shapes  and  curves  and  propor- 
tions: it  may  be,  actually,  a  work  of  art.  The 
same  thing  holds  for  shapes  of  letters.  And  your 
chair,  or  your  letter  (if  a  true  artist  made  it) 
will  have,  besides  its  good  looks,  a  suitability  to 
the  nth  degree  to  be  sat  in,  or  stamped  on  paper 
and  read.  That  explains,  in  a  way.  why  the  ex- 
How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  tiie  art  of  printing  rave  over  a  specific 

( solid) 


How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it 
so  superlatively  pleasant  to  their  eyes?  Good 
design  is  always  practical  design.  And  what 
they  see  in  a  good  type  design  is.  partly,  its  ex- 
cellent practical  fitness  to  perform  its  work.  It 
has  a  "heft"  and  balance  in  all  of  its  parts  just 
right  for  its  size,  as  any  good  tool  has.  Your  good 
chair  has  all  of  its  parts  made  nicely  to  the  right 
size  to  do  exactly  the  work  that  the  chair  has 
to  do,  neither  clumsy  and  thick,  nor  "skinny" 
and  weak,  no  waste  of  material  and  no  lack  of 
strength.  And.  beyond  that,  the  chair  may  have 
been  made  by  a  man  who  worked  out  in  it  his 
sense  of  fine  shapes  and  curves  and  propor- 
tions: it  may  be,  actually,  a  work  of  art.  The 
same  thing  holds  for  shapes  of  letters.  And  your 
chair,  or  your  letter  (if  a  true  artist  made  iti 
will  have,  besides  its  good  looks,  a  suitability  to 
the  nth  degree  to  be  sat  in,  or  stamped  on  paper 
and  read.  That  explains,  in  a  way,  why  the  ex- 

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6pt. 


7pt. 


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803 


8pt. 


LINOTYPE   TEXTYPE   WITH    BOLD    FACE    No.  2 


Eight  Point 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it 
so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  practical  design.  And  what  they 
see  in  a  good  type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair 
has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do, 
neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of  material  and  no  lack  of  strength. 
And,  beyond  that,  the  chair  may  have  been  made  by  a  man  who  worked  out  in  it  his  sense  of 
fine  shapes  and  curves  and  proportions:  it  may  be,  actually,  a  woi-k  of  art.  The  same  thing  holds 
for  shapes  of  letters.  And  your  chair,  or  your  letter  (if  a  true  artist  made  it)  will  have,  besides 
its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it 
so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  practical  design.  And  what  they 

(two  point  leaded) 
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channel  inaKazine.  Tode  word.  MAMO. 


9  pt.  ("LINOTYPE") 

Nine  Point 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ES 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in 
it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  practical  de- 
sign. And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent  practical  fitness  to 
perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do 
exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and 
weak,  no  waste  of  material  and  no  lack  of  strength.  And,  beyond  that,  the  chair  may 
have  been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and  curves  and 
proportions:  it  may  be,  actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of  let- 
ters. And  your  chair,  or  your  letter  (if  a  true  artist  made  it)  will  have,  besides  its  good 
looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That 
How  is  one  to  assess  and  evaluf>te  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they  see  in 
it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  practical  de- 

(two  point  leaded) 
List  ol  Characters  in  TuNt-Lcttrr  Font 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&i^CE 
ABCDEFGHIJKLMNOPQRSTUVWXYZi&^CE 

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Matrix  Information     9An8.  l.tiwer  case  alphabet,  125  points.  Figures.  .0622;  cnmnia,  period  aiul  thin  space,  .0.?U.  Runs  in  90 
channel  niaca/ine.  I  ode  word,  ZEYH. 


804 


LINOTYPE   TEXTYPE   WITH    BOLD    FACE    No.  2 


10  pt. 


Ten    Point 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design 
is  always  practical  design.  And  vv^hat  they  see  in  a  good  type  design  is,  partly,  its 
excellent  practical  fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of 
its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do, 
neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of  material  and  no 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design 

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iliaiini-l  iiiaKa/i.ie,  Cnde  wi.vd.  ZF.VP. 


-(LINOTYPE    0 12  pt. 


Twelve    Point 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERM 
Hov^^  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  de- 
sign ?  Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to 
their  eyes?  Good  design  is  always  practical  design.  And  what  they  see  in 
a  good  type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its 
work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size, 
as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to 


ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 

abcdefghijklmnopqrstuvwxyzseoefiflfTffififl  1234567890  $£,. 
abcdefghijklmnopqrstuvwxyzaeoefiflffflfiffl  1234567890  $£,. 

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.'l/u/>if  l„t,',i„nlin„      UAH"     l-mver  ta-.i.  all.lial.,-1 .    I  S.i   ii,.iiils.    I'iKurrs.     Iixt;  (..im.ia.   pi-n..,i  an. I   thin   ^p.u.-,    .IMl?.    Knti-s  til  00 
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805 


14  pt. 


LINOTYPE   TEXTYPE   WITH    BOLD    FACE    No.  2 


Fourteen    Point 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE 
IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE- 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic 
design?  Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a 
specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so  super- 
latively pleasant  to  their  eyes?  Good  design  is  always  practical 
design.  And  what  they  see  in  a  good  type  design  is,  partly,  its  excel- 
lent practical  fitness  to  perform  its  work.  It  has  a  "heft"  and  bal- 
ance in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has. 
Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to 
do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and 
thick,  nor  "skinny"  and  weak,  no  waste  of  material  and  no  lack 
of  strength.  And,  beyond  that,  the  chair  may  have  been  made  by  a 
man  who  worked  out  in  it  his  sense  of  fine  shapes  and  curves  and 
proportions:  it  may  be,  actually,  a  work  of  art.  The  same  thing 
holds  for  shapes  of  letters.  And  your  chair,  or  your  letter  (if  a  true 
artist  made  it)  will  have,  besides  its  good  looks,  a  suitability  to  the 
nth  degree  to  be  sat  in,  or  stamped  on  paper  and  read.  That  ex- 
plains, in  a  way,  why  the  experts  rave  over  the  fine  shapes  of  let- 
ters; but  it  fails  to  explain  wherein  the  shapes  are  fine.  If  you  seek 
to  go  further  with  the  inquiry,  theories  will  be  your  only  answer. 
Here  is  a  theory  that  the  proponent  thinks  may  have  sense  in  it: 
Fine  type  letters  were,  in  the  first  place,  copies  of  fine  written  let- 
ters. Fine  written  letters  were  fine  because  they  were  produced  in 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic 
design?  Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a 
specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so  super- 


;/.((  of  Chtnactiis  i/i    I  u:'-l.rtt,-r  Finit 


ABCDEFGHIJKLMNOPQRSTUVWXYZ&^OE 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&^(E 

abcdefghijklmnopqrstuvwxyzaeoefiflffffiffl  1234567890$ 
abcdefghijklmnopqrstuvwxyzseoefififfffiffl  1234567890$ 

£,.:;-"?!-!— ...()@tb*t1:1I§[]%  V8V4%y2%%% 
£,.:;-"?!-  — ...()@th*t1:^§[]%  y8y4%V2%%7/8 

Matrix  hif<i>miitiini  :  MA1''4.   Lower  ca^e  alphabet.  \fu  points.    KiKiires.  .fWftX:  comma,  peiirnl  and  tliin  •ipaie.  .1)4X4.   Runs  in  90 
.li.innel  niayazine.  Code  word.  ZABFA. 


806 


LINOTYPE 


Telephone  Faces 


Type  Faces  for  Telephone  Directories  of  Two- 
Three-  and  Four-Column  Format 


BELL  GOTHIC 

• 

No.  11  with  GOTHIC 
CONDENSED  No.  4 

• 

No.  12  with 
GOTHIC  No.  11 

• 

GOTHIC  No.  12 
— C"'°  LINOTYPE"   )— 


MERGENTHALER  LINOTYPE  COMPANY 

BROOKLYN,   NEW  YORK.    NEW  YORK  CITY,   CHICAGO,   SAN    FRANCISCO, 
NEW    ORLEANS.    CANADIAN    LINOTYPE,    LIMITED,    TORONTO,    CAN.^DA 

Representatives  in  the  Pnneipul  Cities  of  the  World 


Cover  page  set  in  Granjon  farinly 


Telephone  Directory  Composition 


After  exhaustive  experiments  carried  on  with  the  co- 
operation of  telephone  companies  all  over  the  United 
States,  taking  into  consideration  the  various  things  that 
combine  to  make  the  ideal  telephone  directory  — reada- 
bility, simplicity,  the  readiness  with  which  listings  may 
be  found,  and  the  compactness  that  makes  for  economy 
of  production— we  have  designed  special  faces  for  tele- 
phone-directory composition.  That  we  have  simplified 
the  problem  materially  is  evidenced  by  the  fact  that 
ninety  per  cent  of  all  telephone  directories  in  this  coun- 
try are  now  Linotype-set. 

The  faces  that  have  been  adopted  as  standard  by 
the  Bell  Telephone  System  are  shown  on  the  following 
pages.  Samples  of  telephone  directory  composition  are 
also  shown.  Bell  Gothic  has  lately  superseded  No.  ii 
with  Gothic  Condensed  No.  4  for  the  New  York  Tele- 
phone Directory  and  the  Directories  of  many  other 
cities.  Following  are  designated  the  faces  listed  in  the 
standard  specifications : 

(a)  7  Point  Bell  Gothic,  for  alphabetical  sections  of  two-  and 
three-column  direclories. 


(b)  6  Point  Bell  Gothic,  lor  both  alphabetical  and  classified  sec- 
tions of  four-column  directories. 

(c)  6  Point  No.  11  with  Gothic  Condensed  No.  4,  for  both  alpha- 
betical and  classified  sections  of  four-column  directories. 

(d)  7  Point  Gothic  No.  12  One-Letter  Caps,  for  bold  face  listings 
in  classified  sections  of  two-,  three-  and  four-column  direc- 
lories. 

(e)  6  or  7  Point  Bell  Gothic,  or  6  Point  Gothic  Condensed  No.  4, 
One-Letter  Caps,  for  simplifying  composition  in  dial  listings. 

A  special  font  has  been  arranged  so  that  printers  need 
purchase  only  the  matrices  actually  required,  instead  of 
the  complete  regular  font  which  includes  characters  not 
used  in  telephone  directory  composition.  The  quanti- 
ties of  matrices  for  purely  telephone  directory  fonts  are 
given  below.  On  the  opposite  page  are  noted  the  char- 
acters included  in  the  font  for  specifications  a,  b  or  c. 
Other  available  characters,  to  make  up  a  complete  font 
for  composition  of  a  general  nature  (1500  quantity), 
are  shown  separately. 

To  provide  for  bold  face  listings  in  the  classified  sec- 
tion, a  special  telephone  directory  keyboard  (illustrated 
below)  has  been  arranged. 


Keyboard  Layouts  for  Standardized  Telephone  Directory  Composition 


Diagram  No.  113  — Providing  for  caps,  lower  case  and 
figures  of  6  or  7  Point  Bell  Gothic,  or  6  Point  No.  11 
with  Gothic  Condensed  No.  4,  in  regular  channels 
and  7  Point  Bell  Gothic,  or  Gothic  No.  12,  One-Let- 
ter Caps  in  center  channels  of  same  magazine. 


Diagram  No.  113a— Same  as  Diagram  No.  113  with  the 
exception  that,  when  using  6  Point  Bell  Gothic,  or 
Gothic  Condensed  No.  4,  One-Letter  Caps  in  center 
channels.  Cap  J  runs  in  the  fifty-ninth  channel,  in 
place  of  &. 


0  QE  0  0  ttB  El  110000  i* 
000001 1*0  000000  t 
Q0  00i*g*i*S'@0  0000i* 

00E0t0*i*i00  0  000ig* 

0000  tt0*I!I*0t0  00  01 

00001*  0-@*i-0i0000i 


Characters  marked  with  asterisk  (*)  denote  in  which  channels 
One-Letter  Caps,  referred  to  in  specifications  d  and  e  above,  run. 
Note  that  Caps  Q,  X,  Z  (also  Small  Caps  A,  C,  E,  and  hyphen 
and  apostrophe  of  specification  d)  run  pi.  In  the  faces  referred  to 


in  specifications  a,  b  and  c  above,  Caps  X,  Z,  yi,  asterisk  and 
apostrophe  run  pi,  if  the  One-Letter  Caps  of  specifications  d  and  e 
are  used.  If  the  latter  are  not  used,  then  these  characters  may  be 
accommodated  in  the  magazine. 


Font  Arrangements 

Font  for  ordinary  listings,  specifications  a,  b  or  c iioo  matrices 

Cap  Font  for  bold  face  listings,  specification  d 280  matrices 

Cap  Font  for  dial  listings,  specification  e 163  matrices 

Keyboard  arrangement  No.  113 24  combination  keybuttons,  Part  No.  H-304 

Keyboard  arrangement  No.  113a 23  combination  keybuttons.  Part  No.  H-304 

(Combination  keybutton,  H-304,  consists  of  keybulton  and  celluloid  cover.  It  may  be  obtained  in  black, 
blue  or  white  and  with  characters  inserted  if  same  are  specified.) 


806  b 


Two-Letter  Telephone  Directory  Faces 

6  Point  Bell  Gothic  ((.A-IIS)  l..,wcr  c,-i-.c  alpllal.i-l,  75  puiiits.  Fimires,  .(MS4 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makei-s  in  the  art  of  printing  ra  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of  printing  ra  1234 

7  Point  Rell  Cothir  (7A1XH)  Lower  r:,sc  .-ilplL-iliet,  8X  points    FiKliros.  .05vl 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  1234 

X  Point  Bell  Gothic  (RASflSI  l.owcr  c:isc  .-ilphal.<-l .  ')X  |.,,ints.  FiKlire«,  .0r,22 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-ma  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-ma  1234 

5',   Point  No.   il  with  Gotliic  1  .Mi.lcnscd  \o.  ■)  (S'.-A.M)  Lower  case  alphahcl .  7J  points.    liKurcs,  .ms4 

IKIU'  JS  (INK  to  assess  ami  cvaliialc  a  type  face  in  terms  of  its  esthetic  design/  Why  do  the  paec-maliers  in  the  art  of  pririliiig  rave  ov  \'2?,i 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  In  the  art  of  printing  rave  ov  1234 

6  Point  No.  IIB  with  Gothic  Condensed  No.  4B  (r,A17r,)  I. oner  lasc  al]ili.ilicl .  71  |.oiiiis.  I  lunres.  .(I4.«4 
HOW  IS  ONE  til  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  ilcsinn/  Wliv  do  tlie  ijacc-makcrs  in  tlie  art  of  printiiiK  raic  ove  I2:i4 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of  printing  rave  ove  1234 

(,  Point   No.   1  I   with  G.itliic  ('..nilensed  N...  4   I6A120)  Lower  case  alpll.ihot ,  7t.  points.   Fimircs,  .ll.|,>'4 

HOW  IS  DNIO  Id  assess  and  evaluate  a  type  face  in  terms  of  its  esllielic  design/  Why  do  the  pace-makers  in  the  art  nf  iiriritin  lUlM 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of  printin  1234 

(,  Point  No.  12  witli  Gothic  No.  II   (6A3JI  Lower  case  alphaliet.  S.S  points.  Fisiires.  .0553 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  trims  of  its  cslliitic  ilosi^n?  Why  do  the  pace-makers  in  tlie  aft  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  art  1234 

7  Point  No.  \:  with  Gothic  No.  II  (7AUS)  Lower  ^asc  aliihahet.  '.'1  lioints  Fii;iiics.  .Iis^l 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  '.'  Why  do  the  pace-nial\crs  in  t  12:i4 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  t  1234 

X  P.iiiil  No.  IJ  with  Gothic  No.  11   (8ALs8)  Lower  case  aliihabet.  HiJ  points.  Figures,  .050 

HOW  IS  ONE  to  assess  and  evaluate  a  ty|>e  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-m  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  ?  Why  do  the  pace-m  1234 


LIST   OF   CHARACTERS   AVAILABLE  IN    TWO-LETTER    FONTS 

TELEPHONE   FOtJT  CHARACTERS   (SPECIFICATIONS  A.  B  OR  C)  OTHER   AVAILABLE  CHARACTERS 

ABCDEFGHIJKLIV1I\I0PQRSTUVWXYZ&  /ECEaecEfiflffflnfFI-j  —  $£,.;;'?!() 

ABCDEFGHIJKLIVINOPQRSTUVWXYZ&  /E(EaoefiflfFffifFl-l— $£,.:, -^TIO 

abcdefghijklmnopqrstuvwxyz  1234567890  V2  '  -      .    .  .  @   Tb  t  i  1i  §  [  ]  °/o  is  V4  ^e  s/g  24  's 

abcdefghijklmnopqrstiivwxyz  1234567890  V2  '  -  *           ...  @  tb  t  t  H  §  [  ]  %  Vs  V4  Vs  Vs  %  % 


-("LINOTYPE"    )- 


7  Point  Gothic  No.  12 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE- 
MAKERS IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  OF  TYPE?  WHAT  DO  THEY  SEE  IN  IT?  WHY  IS  IT 
SO  SUPERLATIVELY  PLEASANT  TO  THEIR  EYES^  GOOD  DESIGN  IS  ALWAYS  PRACTICAL  DESIGN.  AND  WHAT  THEY 
SEE  IN  A  GOOD  TYPE  DESIGN  IS,  PARTLY,  ITS  EXCELLENT  PRACTICAL  FITNESS  TO  PERFORM  ITS  WORK.  IT  HAS 

ONE-LETTER  CAPS   ISPCCIFICATION   D) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&  ace-' 

OTHER    AVAILABLE   CHARACTERS 

1234567890  (  —  %  '  ) 

.\;a(i-i.r  hijnrmalion  :  7A63.  Punched  in  regular  position.  Figures.  .o.t.=.J.  I  asts  on  6  point  shm.  Runs  in  On  channel  niaga/ine 
Code  word.  ZIMAT. 


6  Point  Gothic  Condensed  No.  4 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE- 
MAKERS IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  OF  TYPE?  WHAT  DO  THEY  SEE  IN  IT?  WHY  IS  IT 
SO  SUPERLATIVELY  PLEASANT  TO  THEIR  EYES?  GOOD  DESIGN  IS  ALWAYS  PRACTICAL  DESIGN.  AND  WHAT  THEY 
SEE  IN  A  GOOD  TYPE  DESIGN   IS,  PARTLY,  ITS  EXCELLENT  PRACTICAL  FITNESS  TO  PERFORM    ITS  WORK.   IT  HAS  A 

ONE-LETTER  CAPS   {SPECIFICATION  El 
ABCDEFGHIJKLMNOPQRSTUVWXYZ 


hijc 


-A 

-B 

-C 

-D 

-F     -G 

-H 

PARTY-L  INE    LOGCJT 

-J      -K      -L      -M 

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-0 

-P 

-Q 

-R 

-u 

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-X     -Y 

(lA' 

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mill 

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1    lemilar 

pos 

lion     kuii>   111    'o 

h.OI, 

el    1, 

..K.I. 

■  ne 

1  ,.,1 

.1.  /iri;K 

806  c 


6  Point  Bell  Gothic 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  T 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its 
esthetic  design?  Why  do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why 
is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  al- 
ways practical  design.  And  what  they  see  in  a  good  type  design 
is,  partly,  its  excellent  practical  fitness  to  perform  its  work.  It 
has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size, 
as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made 
nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has 
to  do,  neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste 
(niu-  fnint  leaded) 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  T 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its 
esthetic  design?  Why  do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why 
is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  al- 
ways practical  design.  And  what  they  see  in  a  good  type  design 
is,  partly,  its  excellent  practical  fitness  to  perform  its  work.  It 
has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size, 
as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made 
nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has 
to  do,  neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste 
(oiw  poiut  leaded) 


ABCDEFGHIJKLMNOPQRSTUVWXYZ&/iECE 
ABCDEFGHIJKLI\/INOPQRSTUVWXYZ&/ECE 


abcdefghijklmnopqrstuvwxyzaeoefiflfFffiffl  12  34567  890$  £,. 
abcdefghijklmnopqrstuvwxyzaeoefiflffflFiffi  1234567890$£, . 


( )  *  1 1 H  §  [  ]  %   Va  Vo  3/8 1/2  V8  Vt  '/8 

()«tt11§C]%  VSV43/8V2V83/47/8 


ONE-LETTER  CAPS   (SPECIFICATION  El 

ABCDEFGHIJKLMNOPQRSTUVWXYZ 

Special  No.  1.  Punched  in  regular  position. 


Matrix  Injormation  :  6A41S.  Lower  case  nlphahet.  7S  points.  Figures.  .0484; 
channel  magazine.  Code  u(ird.  ZIDAK, 


period  and  Thin  space.  .0277.  Runs  in  90 


7  Point  Bell  Gothic 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  F 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of 
its  esthetic  design?  Why  do  the  pace-makers  in  the  art 
of  printing  rave  over  a  specific  face  of  type?  What  do  they 
see  in  it?  Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design.  And  what 
they  see  in  a  good  type  design  is,  partly,  its  excellent 
practical  fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as  any 
good  tool  has.  Your  good  chair  has  all  of  its  parts  made 
nicely  to  the  right  size  to  do  exactly  the  work  that  the 

(one  point  leaded) 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  F 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of 
Its  esthetic  design?  Why  do  the  pace-makers  in  the  art 
of  printing  rave  over  a  specific  face  of  type?  What  do  they 
see  In  it?  Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design.  And  what 
they  see  in  a  good  type  design  is,  partly,  its  excellent 
practical  fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as  any 
good  tool  has.  Your  good  chair  has  all  of  its  parts  made 
nicely  to  the  right  size  to  do  exactly  the  work  that  the 

(line  pfint  leaded) 


ABCDEFGHIJKLMNOPQRSTUVWXYZ&/ECE 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&/E(E 


abcdefghijklmnopqrstuvwxyzaecefiflfffTiffl  1 234567890$  £,. 
abcdefghijklmnopqrstuvwxyzaeoefiflfTffiffl  1234567890$£,. 

ONE-LETTER  CAPS   (SPECIFICATION   El 

ABCDEFGHIJKLMNOPQRSTUVWXYZ 

.Special  No.  1.  Punched  in  regular  position. 


WITH  2   POINT  SHOULDER  ON  R    H    SIDE 

BCEFGHJLPRTVW 

Special  X".  ^ 


Matrix  Information  :  7A188.  I^ower  case  alphabet.  88  points.   Figures.  .OS53;  cornina.  period  and  thin  space.  .0277.  Runs  in  90 
channel  niaga/ine.  Code  word.  ZIIIOS. 


8  Point  Bell  Gothic 


HOV^  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYP 
How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  design  is 
always  practical  design.  And  what  they  see  in  a 
good  type  design  is,  partly,  its  excellent  practical 
fitness  to  perform  its  work.  It  has  a  ""heft"  and  bal- 
ance in  all  of  its  parts  just  right  for  its  size,  as  any 
good  tool  has.  Your  good  chair  has  all  of  its  parts 

lone  point  leaded  I 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYP 
How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  design  is 
always  practical  design.  And  what  they  see  in  a 
good  type  design  is,  partly,  its  excellent  practical 
fitness  to  perform  its  work.  It  has  a  "heft"  and  bal- 
ance in  all  of  its  parts  just  right  for  its  size,  as  any 
good  tool  has.  Your  good  chair  has  all  of  its  parts 


point  leaded! 


ABCDEFGHIJKLMNOPQRSTUVWXYZ,&/eCE 

ABCDEFGHIJI<LIVINOPQRSTUVWXYZ&/E(E 

abcdefghijklmnopqrstuvwxyzaeoefiflfTffiffl  1234567890$£,.:;-"?!-| — ■ 

abcdefghijklmnopqrstuvwxyzaecefiflffffiffll234567890$£,.:;-"?!-|— 


.{)*t1:1l§[]% 
()*tt11§[]% 


Miitiix  IvfornuitioH  :  8A508.   Lower  case  .ili.hahet.  ys  \n 
channel  niaf^azine.  Code  word,  ZIIIOY. 


V8V43/8V25/83/47/8 

Figures,   .U6J2; 


perii>d  and  thin  space.   .OJll.   Runs  in  90 


806  d 


5^2  Point  No.  11  with  Gothic  Condensed  No.  4 


HOW  IS  ONK  'I'd  ASSKSS  AND  KVAI-UATK  A  TYI'E  KACE  IN  TK 
How  is  one  to  assess  and  evaluate  a  type  face  In  terms  of  its  esttictie 
design?  Wily  do  the  pace-nialiers  in  the  art  of  iirintini;  rave  over  a 
specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superla- 
tively pleasant  to  their  eyes?  Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent 
practical  fitness  to  iierforni  its  worlf.  It  has  a  "hefl"  and  halaiice  in 
all  of  its  jiarts  just  right  for  its  size,  as  any  gooil  tool  has.  Your 
good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do 
exactly  the  worlc  that  the  chair  has  to  do,  neither  chniisy  and  tliicU, 
nor  "sldnny"  and  weali,  no  waste  of  material  and  no  lack  of  strength. 
And,  heyoiid  that,  the  chair  may  have  been  made  by  a  man  «ho 
worked  out  in  it  his  sense  of  fine  shapes  and  curves  and  [iroportions : 
it  may  be,  actually,  a  work  of  art.  The  same  thing  holds  for  shapes 
of  letters.  And  your  chair,  or  your  letter  (if  a  true  artist  made  it) 
will  have,  besides  its  good  looks,  a  suitability  to  the  nth  degree  to 
be  sat  in,  or  stamped  on  paper  ami  read.  That  explains,  in  a  way, 


fiiiiiit  Icadi-d) 

ABCDEFaHIJKLMNOl'dltSTrVWXYZ&.KfE 
ABCDEFGHIJKLMN0P0RSTUVWXY2&/E(E 

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abcdefghijklmnopqrstuvwxyzaeiEfinflflifn  1234567890$£, .:;-"?!-! —  ()*ttll§[]% 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TE 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic 
design?  Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a 
specific  face  of  type?  Wh.it  do  they  see  in  it?  Why  Is  it  so  superla- 
tively pleasant  to  their  eyes?  (luoil  design  is  always  iiraclical  design. 
And  what  they  see  in  a  good  type  design  is,  partly.  Its  excellent 
practical  fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in 
all  of  its  parts  just  right  lor  its  size,  as  any  good  tool  has.  Your 
good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do 
exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick, 
nor  "skinny"  and  weak,  no  waste  of  material  and  no  lack  of  strength. 
And,  beyond  that,  the  chair  may  have  been  made  by  a  man  who 
worked  out  in  it  his  sense  of  fine  shapes  and  curves  and  proportions: 
it  may  be,  actually,  a  work  of  art.  The  same  thing  holds  for  shapes 
of  letters.  And  your  chair,  or  your  letter  (if  a  true  artist  made  it) 
will  have,  besides  its  good  looks,  a  suitability  to  the  nth  degree  to 
be  sat  in,  or  stamped  on  paper  and  read.  That  explains,  in  a  way. 
(  uiic  puiiU  U-adrdi 


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Matrix  InUirmatiuii .  5' 
clianiiel  m.'iHazine.  Code 


;A-4.  Lower  case 
wi.rd.  ZliDSU. 


ilpli.ihet.  7.'  p.init^.    Figures,   .(HM; 


■1.   IM-Mu 


.0277.  Kiins  in  yo 


6  Point  No.  UB  with  Gothic  Condensed  No.  4B 


HOW  IS  ONE  TO  ASSKSS  AND  EVALUATE  A  TYI'E  FACE  LN  TE 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  uf  its  estlictic 
design?  Why  do  the  pacc-mal;ers  in  tiie  art  of  printing  rave  over  a 
specific  face  of  type?  What  do  they  sec  in  it?  Why  is  it  so  superla- 
tively pleasant  to  their  eyes?  Good  design  is  always  practical  design. 
And  wliat  they  see  in  a  good  type  design  is,  partly,  its  excellent 
practical  fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in 
all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has.  Viuir 
good  cliair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do 
exactly  the  work  that  the  cliair  has  to  do,  neither  clumsy  and  thick, 
nor  "skinny"  and  weak,  no  waste  of  material  and  no  lack  of  strength. 
And.  be) Olid  tliat,  tlie  chair  may  have  been  made  by  a  man  wlio 
worked  out  in  it  his  sense  of  fine  sliapes  and  curves  and  |iiii|iorlioiis: 
it  may  be,  actually,  a  work  of  art.  The  same  thing  hoMs  for  shapes 
of  letters.  And  your  cliair.  or  .your  letter  (if  a  true  artist  made  it) 
will  have,  besides  its  good  hioks.  a  suitability  to  tlic  nth  degree  to 
be  sat  in.  or  stamped  on  paper  and  read.  That  explains,  in  a  way. 
(one  point  leaded! 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TE 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic 
design?  Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a 
specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superla- 
tively pleasant  to  their  eyes?  Coud  design  is  alwavs  inactical  design. 
And  what  they  see  in  a  good  type  design  is.  partly,  its  excellent 
practical  fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in 
all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your 
good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do 
exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick, 
nor  "skinny"  and  weak,  no  waste  of  material  and  no  lack  of  strength. 
And,  beyond  that,  the  chair  may  have  been  made  by  a  man  who 
worked  out  in  It  his  sense  of  fine  shapes  and  curves  and  proportions: 
it  may  be.  actually,  a  work  of  art.  The  same  thing  holds  for  shapes 
of  letters.  And  your  chair,  or  your  letter  (if  a  true  artist  made  it) 
will  have,  besides  its  good  looks,  a  suitability  to  the  nth  degree  to 
be  sat  in,  or  stamped  on  paper  and  read.  That  explains,  in  a  way, 
{one  point  leaded  I 


AlitTlEFt;illJKLMNOPQl;STi:\W.\Y'/,&,F(E 
ABCDEFGHIJI<LMNOPQRSTUVWXYZ&/E(E 

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abcdcfghijklmnopqrstuvwxyzaffififlffftiffi  1234567S90$£,. :;-"?!—.  .  .        ()*tffl§[]%  '/s'A^'^yaW/s 

iJiinatU'it:  (jAI'Ij.    l.i.vver  c.ise  .ilphaliet.  71   points,    FiRures,   .0-tS4:  coiiiin.i.  period  and  Ilnn  space.   .(127 


channel  iiiaga/ 


d,  Zl-.lil 


6  Point  No.  1 1  with  Gothic  Condensed  No.  4 


HOW  !S  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  1 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its 
esthetic  design?  WTiy  do  the  pace-makers  in  the  art  of  jirinting 
rave  over  a  specific  face  of  type?  What  do  they  see  in  il?  \Vliy 
is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  al- 
ways practical  design.  And  what  they  see  in  a  good  type  design 
is.  partly,  its  excellent  practical  fitness  to  perform  its  work.  It 
lias  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  lias.  Your  good  cliair  lias  all  of  its  parts 
made  nicely  to  the  right  size  to  do  exactly  tlif  «'ork  that  liic 
chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and 
weak,  no  waste  of  material  and  no  lack  of  strength.  And.  beyond 
lliat,  the  cliair  may  have  been  made  liy  a  man  who  worked  oii! 
in  it  his  sense  of  fine  sliapes  and  curves  and  propoi lions:  il  m.iy 
lie.  acdially.  a  work  of  art.  The  same  thing  holds  for  sliaiies  of 
letters.  And  your  chair,  or  your  letter  (if  a  true  artist  made  it) 
will  have,  besides  its  good  looks,  a  suitability  to  the  nth  <lcgree 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  I 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its 
esthetic  design?  Why  do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specilic  face  of  type?  What  do  they  see  in  if?  Why 
is  it  so  superlatively  pleasant  to  their  eyes?  flooil  design  is  al- 
ways practical  design.  And  what  they  see  in  a  good  type  design 
is,  partly,  its  excellent  practical  fitness  to  perform  its  work.  It 
has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts 
made  nicely  to  the  right  size  to  do  exactly  the  work  that  the 
chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and 
weak,  no  waste  of  material  and  no  lack  of  strength.  And,  beyond 
that,  the  chair  may  have  been  made  by  a  man  who  worked  out 
in  it  his  sense  of  line  shapes  and  curves  and  proportions:  it  may 
be,  actually,  a  work  of  art.  The  same  thing  holds  for  shapes  of 
letters.  And  your  chair,  or  your  letter  (if  a  true  artist  made  it) 
will  have,  besides  its  good  looks,  a  suitability  to  the  nth  degree 

I  "111-  point  leaded! 


I<nu-  point  leaded! 

AIUTlEF(;ill.ll<LMN01'(!l!STIV\V\Y7,Ji.K(E 
ABCDEFGHIJI<LIVINOPQRSTUVWXYZ&/E(E 

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abcdefghijklmnopqrstuvwxyzffioBfiflffffifil  X234567890$£,. :;-"?!-;—.  .  .         ()*tt1I§[]%  '/e'A^k'/z%%Ve 

Matrix  Inloi  inalion     (jA12II,   l.owtr  case  allili.ilicl .  70    poiiils,   Fitjures.  .048-1:  comma,  period  ami  tliiu  >paci-.  .0277 
cliamiLd  magazine,  (.'oilc  vsord,  ZEDTA, 


Unns  in  <W 


806  e 


6  Point  No.  12  with  Gothic  No.  8 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FA 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of 
its  esthetic  design  ?  Why  do  the  pace-makers  in  the  art  of 
printing  rave  over  a  specific  face  of  type?  What  do  they 
see  in  it?  Wliy  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design.  And  what 
they  see  in  a  good  type  design  is,  partly,  its  excellent 
practical  fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as  any 
good  tool  has.  Your  good  chair  has  all  of  its  parts  made 
nicely  to  the  right  size  to  do  exactly  the  work  that  the 
chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny" 
and  weak,  no  waste  of  material  and  no  lack  of  strength. 
And,  beyond  that,  the  chair  may  have  been  made  by  a 
(one  puhit  leaded) 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FA 
How  Is  one  to  assess  and  evaluate  a  type  face  In  terms  of 
its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of 
printing  rave  over  a  specific  face  of  type?  What  do  they 
see  in  It?  Why  Is  it  so  superlatively  pleasant  to  their 
eyes?  (iood  dusi^n  is  always  practical  divsigu.  And  what 
they  see  in  a  good  type  design  Is,  partly,  its  excellent 
practical  fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as  any 
good  tool  has.  Your  good  chair  has  all  of  its  parts  made 
nicely  to  the  right  size  to  do  exactly  the  work  that  the 
chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny" 
and  weak,  no  waste  of  material  and  no  lack  of  strength. 
And,  beyond  that,  the  chair  may  have  been  made  by  a 
(one  point  (ended) 


ABCDEFGHIJKLMNOPQRSTUVWXYZ&.ECE 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&/ECE 


abcdef>.,'hijklmnoii(irstuvwxyza><efiflirffiffl  12i(45(17SiM)$£,. : 
abodefghijklmnopqrstuvwxyzaeoefiflfffflffl  1234567S90$f ,.: 


( )  *t  :il§  [  ]  %   Vs  %  %  Va  %  %  % 
()*ttll§[]%    !/8/4%'/2%%% 


Matrix  Information :  6A32.  Lower  case  alphabet.  88  points.   Figures,  .055.3;  comma,  period  and  tliiii  space,  .0277. 
channel  magazine.  Code  word.  MOIB. 


7  Point  No.  12  with  Gothic  No.  11 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant 
to  their  eyes?  Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design  is,  partly,  its 
excellent  practical  fitness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  exactly  the 
work  that  the  chair  has  to  do,  neither  clumsy  and  thick, 
nor  "skinny"  and  weak,  no  waste  of  material  and  no 
(one  point  leaded) 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant 
to  their  eyes?  Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design  is,  partly,  its 
excellent  practical  fitness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  exactly  the 
work  that  the  chair  has  to  do,  neither  clumsy  and  thick, 
nor  "skinny"  and  weak,  no  waste  of  material  and  no 

(  o}ie  point  leaded) 


ABCDEFGHIJKLMNOPQRSTUVWXYZ&.-ECE 
ABCDEFGHIJKLMNOP0RSTUVWXYZ&>!E(i: 


abcdefghijklmnopqrstuvwxyziecEfiUffftiffl  1234.5G7iS90$£,. ; 
abcdefghijklmnopqrstuvwxyzaeoefiflffffiffl  1234567890S£,. : 


'7  l_ 


()  ntii§  [  ]  %  Vs  %  %  V2  %  %  % 

()*tM§[]%  Vb'AW/zVbW/s 


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Matrix  Information :  7A118.  Lower  case  alphabet, 
channel  magazine.  Code  word,  MOIJ. 


PARTY-LINE  LOGOTYPES 

-J     -L     -M    -P     -0     -R     -U     -W     -X     -Y 

91  points.  Figures.  .0.S53;  comma,  period  and  thin  space,  .0277.  Runs  in  90 


8  Point  No.  12  with  Gothic  No.  11 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  T 

How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design  ?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  design 
is  always  practical  design.  And  what  they  see  in  a 
good  type  design  is,  partly,  its  excellent  practical 
fitness  to  perform  its  work.  It  has  a  "heft"  and  bal- 
ance in  all  of  its  parts  just  right  for  its  size,  as  any 
good  tool  has.  Your  good  chair  has  all  of  its  parts 
made  nicely  to  the  right  size  to  do  exactly  the  work 
that  the  chair  has  to  do,  neither  clumsy  and  thick, 


HOW  IS  ONETO  ASSESS  AND  EVALUATE  AT 
How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  de.sign 
is  always  practical  design.  And  what  they  see  in  a 
good  type  design  is,  partly,  its  excellent  practical 
fitness  to  perform  its  work.  It  has  a  "heft"and  bal- 
ance in  all  of  its  parts  just  right  for  its  size,  as  any 
good  tool  has.  Your  good  chair  has  all  of  its  parts 
made  nicely  to  the  right  size  to  do  exactly  the  work 
that  the  chair  has  to  do,  neither  clumsy  and  thick, 

I  one  Point  leaded) 


(one  point  leaded)  Ion 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^OE 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&/ECE 

abcdefghijklmnopqrstuvwxyzffiCBfiflffffiffl  1234567890$£,. : ;-"  ?  !-|—        .  ■  •  ( )*t$1I§[]%  %%%%%%% 
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/Ua/ii.r  Infonnation     .SA15S.   Lower  case  alphabet.    IU2  p.. 
chaiuiel  magazine.  Code  word.  MOOC. 


Its.    t'igures,   .056;  comma,   period  and  thin   space.   .028.    Runs   in  90 


806  f 


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LINOTYPE 


Self  Spacing  Faces 


6  AND  8  Point  No,  1 7  iv'itb  (j)ndcnscd  Title  No.  ) 

8  Point  Tariff  1^  pfwriter 

8  Point  Ionic  No.  4  ivith  Antique  No.  <^'— self  spacing 

8  Point  Ionic  No.  4  ivitb  Antique  No.  8 


IN  Vcirious  forms  of  st;iristic;il  tables  and  other  intricate  tabular  work 
it  is  a  convenience  to  have  the  alphabet  characters  on  unit  widths  that 
will  automatically  justify  words  in  figure  columns  without  hand  spacing. 

On  following  pages  are  shown  a  selection  of  6  and  8  point  faces  that  have 
been  designed  especially-  for  tables  requiring  intricate  justifications.  See 
pages  806 1,  and  806  p  for  Unitlables  of  the  respective  faces. 

^MRADE  L8  N  DTYPE  "'^"'^  V 

Mergeutbalev  Linotype  Com  puny,  Brooklyn,  New  York 

NFAV  YORK  CrPY     •     CHICAGO     •     SAN  FRANCISCO     •     NKW  ORI  KANS.    CANADIAN 

LINOTYPE,  iJMi  riiu,  roRON  1  ().  LicprcsciitiUivcs  ill  tbcVriiicipal  Litics  uj  the  1 1  'arid 


ALL  DOWN  RULES  ARE  CAST  ON  THE  SLUG 


6  Point  No.  17  with  Condensed  Title  No.  5  (6A132) 

Coje  Word:  Muci 

C""LINDTYPE  "0 


ALPHABETICAIi   LIST   OF   STATES  FROM  WHICH  RATES  APPLY 


Rates  in  Cents  Per  100  Pounds 


COTTON,  UKCOMPRESSED,  with  privilege  of  compressing 


TO 


Plymouth Mass. 

Pontiac R.  I. 

Poquonock Conn. 

Chester N.  Y. 

Portland Me. 

Pottstown Pa. 

Poltsville Pa. 

Poughkeepsie N.  Y. 

Pownal Vt. 

Proctors  ville Vt. 

Putnam Conn. 

Quidnick R.  I. 

Quinapoxet Mass. 

Quinebaug Conn. 

Rah  way N.  J. 

Raritan N.  J. 

Reading Pa. 

Renfrew Mass. 

Reynolds  ville Pa. 

Richfield N.  Y. 

Richmond Me. 

River  Point R.  I. 

Rochdale Mass. 

Rochester N.  H. 

Rochester N.  Y. 

Rockland Me. 

Rockland Mass. 

Rockland R.  I. 

Rockville R.  I. 

Rome N.  Y. 

Saco Me. 


(For  explanation  of  Lots,  see  Items  2  and  3) 
(From  Lots  Shown  Below) 


No. 
Lot 

12 


68 

68 
Rates 

68 

68 

63 

63 

63 

68 

68 

68 

68 

68 

68 

63 

63 

63 

68 

68 

63 

68 

68 

68 

68 

68 

68 

68 
Rates 
Rates 

63 

68 


No. 
Lot 
13 


68 

68 
to  Win 

68 

68 

63 

63 

63 

68 

68 

68 

68 

68 

68 

63 

63 

63 

68 

68 

63 

68 

68 

68 

68 

68 

68 

68 
to  Ho 
to  Wo 

63 

68 


No. 
Lot 
14 


68 

68 
dsor, 

68 

68 

63 

63 

63 

68 

68 

68 

68 

68 

68 

63 

63 

63 

68 

68 

63 

68 

68 

68 

68 

68 

68 

68 
pe,  R. 
od  Ri 

63 

68 


No. 

No. 

No. 

No. 

No. 

No. 

No. 

No. 

Lot 

Lot 

Lot 

Lot 

Lot 

Lot 

Lot 

Lot 

15 

16 

17 

18 

19 

20 

25 

27 

68 

68 

68 

68 

70 

71 

73 

74 

68 

68 

68 

68 

70 

71 

73 

74 

Conn. 

,  only. 

68 

68 

68 

68 

70 

71 

73 

74 

68 

68 

68 

68 

70 

71 

73 

74 

63 

63 

63 

63 

70 

67 

68 

70 

63 

63 

63 

63 

70 

67 

68 

70 

63 

63 

63 

63 

70 

67 

68 

70 

68 

68 

68 

68 

70 

71 

73 

74 

68 

68 

68 

68 

70 

71 

73 

74 

68 

68 

68 

68 

70 

71 

73 

74 

68 

68 

68 

68 

70 

71 

73 

74 

68 

68 

68 

68 

70 

71 

73 

74 

68 

68 

68 

68 

70 

71 

73 

74 

63 

63 

63 

63 

70 

67 

68 

70 

63 

63 

63 

63 

70 

67 

68 

70 

63 

63 

63 

63 

70 

67 

68 

70 

68 

68 

68 

68 

70 

71 

73 

74 

68 

68 

68 

68 

70 

71 

73 

74 

63 

63 

63 

63 

70 

67 

61 

70 

68 

68 

68 

68 

70 

71 

73 

74 

68 

68 

68 

68 

70 

71 

73 

74 

68 

68 

68 

68 

70 

71 

73 

74 

68 

68 

68 

68 

70 

71 

73 

74 

68 

68 

68 

68 

70 

71 

73 

74 

68 

68 

68 

68 

70 

71 

73 

74 

68 

68 

68 

68 

70 

71 

73 

74 

I.,  on 

Iv. 

ver  J 

unctio 

n,  R. 

I.,  onl 

y. 

63 

63 

63 

63 

70 

67 

61 

70 

68 

68 

68 

68 

70 

71 

73 

47 

No. 

Lot 
30 


76 
76 

76 
76 
72 
72 
72 
76 
76 
76 
76 
76 
76 
72 
72 
72 
76 
76 
72 
76 
76 
76 
76 
76 
76 
76 


72 
76 


MEMBERS  OF  THE  CHAMBER  OF  COMMERCE 

A 
Name  Business   &  Firm  Residence 

ALBAUGH,  G.  W Wholesale  Jrocer Westminster  Place,  Md. 

ALLERS,  J.   H Bank  President 155  St.  Charles,  N.  E. 

ANDREWS,  J.   K B.  &.  O.  R.  R.  Co Camden  Station,  N.  J. 

ATKINSON,  WM.   G Steamship  Agent 419  East  Hanover  St. 

B 

BAKER,   B.   N Capitalist Fidelity  Building 

BALTO   BAKING   CO R.  S.  Baits,  Manager 1112  North  Madison  St. 

B.   &    O.   R.   R.   CO J.  B.  Brown,  Supt 404  St.  Paul  Ave..  N.  W. 

BARRETT.   THOS.   E Agent 503  Light  St.,  Springfield 

BIEMILLER,  J.   H Flour  and  Feed 9th  St.  and  Liberty  Road 

BIGGS,  RICHARD  J Commission  Merchant 304  Light  Street,  Wharf 

BRICK,   P.  MAC Insurance  Agent 214  East  Lexington  St. 

C 

CAHN,  JACOB  B President  Distilling  Co 415  N.  Holiday  St.,  S.  E. 

CAMERON,  J.  M Lawyer Chamber  of  Commerce 

CAMPBELL,  T.   W with  John  Legg  &  Co 324  Eutaw  St.,  N.  E. 


THESE   JUSTIFICATIONS  ARE   ALL  MADE   ON   ONE   SLUG 


tob 

arg 

vid 

inie 

ild 

arl 

elt 


vap 

ept 

zet 

ull 

rud 

omb 

ill 


urs 
ihe 
dak 
zin 
rab 
irm 
smi 


mib 
ong 
ung 
acq 
urf 
ruv 
nen 


kun 
pof 
geg 
jek 
ked 
euf 
gla 


zib 

orm 

tau 

ige 

geb 

gur 

lud 


gos 

eig 

ahn 

buh 

pum 

ite 

rad 


orl 

tin 

uff 

spo 

gah 

pru 

lei 


ith 

enf 

teg 

ipp 

arb 

baw 

cha 


fas 

ech 

ruj 

ume 

zan 

ret 

heb 


arc 
(on 
not 
add 
end 
red 
eel 


kun 
pof 
geg 
jek 
ked 
euf 
gla 


zib 

orm 

tau 

ige 

geb 

gur 

lud 


See  Page  806l  for  Unit  Table 


806  j 


ALL  DOWN   RULES  ARE  CAST  ON  THE  SLUG 


8  Point  No.  17  with  Condensed  Title  No.  5  (8A242) 

Oide  Word:  .Menu 


(-LINOTYPE^ 


IJASIS  FOR  RATES  FROM  I\TKRIOR  EASTERN  POINTS 


TO 

NEW  ORLEANS  GREAT 

NORTHERN  RAILROAD. 

Main  Line. 


*Tailisheek La. 


*Worthani 

Florenville , 

4|*Pineacre 

5|*Amos  (C.  L.  only) , 
GlcNorth  Siidell 


Add  Following  Locals 
to  Rates  to  Junction 
Points  Named, 
Adopting  Lowest 
Total  as  Through 
Rate  (see  Note  Be- 
low). 


New  Orleans,  La. 

New  Orleans,  La. 
New  Orleans,  La. 

New  Orleans,  La. 
New  Orleans,  La. 


In  Cents  per  100  Lbs. 
Class  Rates. 


MARGIN  OF  SAFETY  OVER  CIRRENT  RAILROAD  DIVIDENDS 

This  table  sets  forth  the  percentage  earned  on  the  preferred  and  common 
stocks,  as  per  the  last  annual  reports,  the  present  dividend  rate,  the  percentage 
earned  in  excess  of  the  dividend — or  in  other  words  the  margin  of  safety —  and 
also  the  percentage  earned  on  the  stocks  taken  at  the  market  prices  as  of 
December  31,  1923,  or  the  last  previous  sale. 


Name  of 
Security 


Atchison 

D.,L.  fewest 

Atlantic  Coast  Line. . . 
Bait.  &  Ohio,  Pfd 

Com 

Can.  Pacific 

Ches.  feOhio 

Chi.  &  No.  West 

Chi.  R.I.  &  Pac.77oPfd. 

6%  Pfd 

Clev.  C,  C.&  S.  L.,  Pfd. 

Colo.  &  So.  1st  Pfd 

Colo.  &  So.  2nd  Pfd 

D.L.  fewest 

Gt.  North.,  Pfd 

HavanaE.R.,Lt.&P.Pfd 

Com 

Illinois  Cent 

Kansas  City  So.,  Pfd. . . 
Leh.  Valley 


Year 
Ending 


Dec.  31, 1922 
Dec.  31,1922 
Dec.  31, 1922 
6  mos.  Je.  '23 
0  mos.  Je.  '23 
Dec.  31, 1922 
Dec.  31, 1922 
Dec.  31, 1922 
Dec.  31, 1922 
Dec.  31,1922 
Dec.  31, 1922 
Dec.  31, 1922 
Dec.  31, 1922 
Dec.  31,1922 
Dec.  31,1922 
Dec.  31, 1922 
Dec.  31,1922 
Dec.  31, 1922 
Dec.  31, 1922 
Dec.  31,1922 


% 
Ernd. 


27.60 
12.39 
15.40 
21.26 

7.61 
11 .  66 
10.06 

5.05 
14.57 

8.06 
80.35 

9.82 

5.82 
12.39 

4.36 
10.67 

6.67 
15.04 

7.55 
16.59 


Prs. 
Div. 


*5 

12 
7 
2 
2 

10 
4 
4 
7 
6 

*5 
4 
4 

12 
5 

§6 
6 
7 

*4 


Mrgn. 
of  Sfty. 


22.60 
0.39 
8.14 

19.26 
5.11 
1.66 
6.06 
2.05 
7.57 
2.06 

73.35 
5.82 
1.82 
0.39 


4.67 
0.67 
8.04 
3.55 
9.59 


List 
Price 


86 

112 

113 

59 

59 

146 

72 

51 

77 

66 

86 

50 

38 

112 

55 

100 

95 

102 

53 

61 


Ernd  on 
Last  Price 


32.09 

5.53 

13.40 

36.03 

12.60 

7.98 

13.97 

9.90 

18.92 

12.21 

93.43 

19.64 

15.32 

5.53 

7.93 

10 .  67 

7.02 

14.74 

14.25 

13.60 


4 

5 

27 

23 

26 

22 

25 

21 

23 

20 

12 

10 

wO 

rle| 

12 

10 

29 

25 

30 

I 

26 

131 

26 

17 

17 
17 

16 

7 
ans 

7 


THESE  JUSTIFICATIONS  ARE  ALL  MADE  ON  ONE  SLUG 


vid 

tob 

arg 

ime 

ool 

ild 

arl 

elt 


zet 

vap 

ept 

ull 

euk 

rud 

omb 

ilt 


dak 
urs 
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zin 
sef 
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smi 


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mib 
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acp 
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geb 

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spo 

tef 

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lei 


teg 

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enf 

ipp 

lom 

arb 

baw 

cha 


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fid 

zan 

rot 

heb 


not 
arc 
ton 
add 
rat 
end 
red 
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ruj 

fid 

gom 

zan 

luh 

tas 

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not 
rat 
low 
end 
tan 
arc 
low 
ton 


See  Page  806 L  for  Unit  Table 


806  k 


ALL  DOWN  RULES  ARE  CAST  ON  THE  SLUG 


6  AND  8  Point  No.  17  with  Condensed  Title  No.  5 

0^.0.  LINOTYPE^ 


LIST  OF  BROADCASTING  STATIONS 


Call 


Owner 


CKAC 

KDKA 

KFAE 

KFAR 

Kiev 

KFIU 

KFOH 

KFPO 

KFPR 

VVAAK 

WABG 

VVBAP 

WCACJ 

VVCAM 

WDAK 

WDBB 

WGAN 

WQAS 

WRAZ 

WSAJ 

WTAF 


IMount  Royal  Hotel 

Westinghouse  Co 

State  College 

Studio  Light  Co 

F.  Mahaffey 

Alaska  Electric  Co 

Radio  Bungalow 

CM.  Esler 

Forestry  Department.. 

Gimbel  Bros 

Arnold  Edwards  Co... 

Star -Telegram 

C.  R.  Randall 

Villanova  College 

The  Courant 

A.  H.  White  Co 


Location 


Meters 


Montreal,  Que 

Pittsburgh,  Pa 

Pullman,  Wash 

Hollywood,  Cal 

Houston,  Tex 

Juneau,  Alaska 

Portland,  Ore 

Dennison,  Tex 

Los  Angeles,  Cal., 

Milwaukee,  Wis 

.Tacksonville,  Fla... 
Fort  Worth,  Tex.... 
New  Orleans,  La.. 

Villanova,  Pa 

Hartford,  Conn 

Taunton,  Mas.s 


430 
326 
330 
280 
360 
226 
283 
231 
231 
280 
243 
476 
268 
S60 
261 
229 


Kilos. 


740 

920 

910 

1070 

830 

1330 

1060 

1300 

1300 

1070 

1210 

620 

1120 

830 

1150 

1310 


Time 


E.S.T. 

E.S.T. 

P.T. 

P.T. 

C.S.T. 

P.T. 

P.T. 

C.S.T. 

P.T. 

C.S.T. 

E.S.T. 

C.S.T. 

C.S.T. 

E.S.T. 

E.S.T. 

E.S.T. 


WHEAT— Monthly  High  and  Low— ORILLIA 


Delivery 

Jan. 
1924 

Dec. 
1924 

Nov. 
1924 

Oct. 
1924 

Sep. 
1924 

Aug. 
1924 

July 
1924 

June 
1924 

May 
1924 

Apr. 
1924 

May           H 

L 
July           H 

L 
Sept.         H 

L 
Dec.          H 

L 
No.  2  Rd.  H 

L 

1093/8 

1071/i 
1071/2 
105% 
1071/8 
105 

111% 
105% 
1093/8 
1041/4 

ioGVs 
10014 
110 
106 

112% 
107 
1081/8 
1047/8 

ios" 

101 1/8 

106 
102 

114% 
109 
110% 
1051/4 

iio% 
1043/8 
112% 
1091/2 

1131/2 
106% 

io5" 

98% 
107% 
101% 
IO61/2 
102 

1131/2 
1041/2 

1641/4 
96% 

108 1/2 
99% 

1051/2 
97  y* 

108 1/2 
10378 
104 

96 
104 

95% 
107 

99 
103 

96 

113% 

101% 

1131/4 

1011/2 

114% 

1043/8 

126 

108 

123% 

1111/2 

123 

1121/2 

120% 

111% 

131% 
125 

1271/4 
1191/2 
125% 
116% 
12314 
114% 

1331/2 

1311/2 

6   POINT  NO.   17   witli   CONDENSED 
TITLE   NO.  5 

Tariff  face  on  2 -point  Unit  Basis 
List  showing  characters  made  and  their  unit  sizes  : 

8  POINT  NO.   17   with   CONDENSED 
TITLE   NO.  5 

Tariff  face  on  2 -point  Unit  Basis 
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806 


ALL  DOWN  RULES  ARE  CAST  ON  THE  SLUG 


8  Point  Tariff  Typewriter  (8A434) 

Code  Word:  Zacta 

G^..  LINOTYPE     0 


SECTION  1 — (See  Page  193  of  tariff.) 

COMMODITY  RATES  IN  CENTS  PER  ONE  HUNDRED  POUNDS, 

EXCEPT  AS  NOTED 

Rate  basis  numbers  shown  below  are  referred  to  on 

Pages  96  thro  179  of  tariff,  as  amendeci. 


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All  characters  in  this  font  are  made  on  a  uniform  set  width  of  six  points. 


806  m 


ALL  BOX  HEADS 

SET  ACROSS 

ON  ONE  SLUG. 

SEE  PAGE  806p  FOR  UNIT  TABLE 

8Poi. 

NT  Ionic  No. 
( 

4  WITH 

Antiql 

rENo.8(8A452) 

-LINOTYPE--) 

Code  Word 

:  Zejef 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&     abcdefghijklmnopqrstuvwxyzfiflff 

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806  n 


ALL  BOX  HEADS  SET  ACROSS  ON  ONE  SLUG.  SEE  PAGE  806p  FOR   UNIT  TABLE 


8  Point  Ionic  No.  4  with  Antique  No.  8  (Self-Spacing)  (8A454) 

Code  Word:  Zekbe 

F^LINOTYPE^ 


FROM 


Carolina  Territory  

Chicago  Territory 

Cincinnati  Territory 

Dayton-South  Bend  Territory 

(Note  6)   

Detroit-Cleveland  Territory 

(Note  6)   

Kansas  City  Territory 

Kansas  Group  No.  1 

Kansas  Group  No.  2 

Kansas  Group  No.  3 

Little  Rock-Ft.  Smith  Territory 
Louisville  Territory  as  shown 

in  ® 

Louisville  Territory  as  shown 

in  ® 

Macon  Territory   

Memphis  Territory  (see  Item 

4823)    

Middlesborough  Territory 

Milwaukee  Territory 

Nashville  Territory® 

Omaha-Davenport  Territory  -- 

Pittsburgh  Territory 

Raleigh  Territory  

St.  Louis  Territory  (see  Item 

4823)    

(Except  as  specifically  pro- 
vided below  and  in  Item 
4822). 


Points  in  Michigan  north  of 
Detroit-Cleveland  Territory, 
as  described  on  page  21,  tak- 
ing Rate  Basis; 

10   

11   

12   

13   

14   

15   

(Except  as  specifically 
provided  in  Item  4822). 

Little  Rock  (see  (jjis') Ark. 

North  Little  Rock  (see  @))  Ark. 
Pulaski  (see  (i^) Ark 


RATES  IN  CENTS  PER  100  POUNDS  TO 


Points  named  in 
Note  A  of  Item  4830 


Points  named  in 
Note  B  of  Item  4830 


Points  named  in     I 
Note  C  of  Item  4830  | 


51 
51 
51 

55 

55 

44 

50* 

55 

55 

24^ 

45i 

45i 
45 

32 
64 
51 

43 
50^ 
©70 
69 

40 


68i 

721 

74^ 

79 

77 

72§ 


17 


COLUMNS  (For  Explanation  of  Columns,  see  Item 


56 
56 
56 

60  i 

60^ 
48i 
55i 
60^ 
60  h 
27 

50 

50 

49i 

35 

70  i 
56 

471 
55A 
77 
76 

44 


68 
68 
68 

73i 

73* 
58  i 
67^ 
73  i 
73* 
32* 

60* 

60* 
60 

42* 
85* 
68 

57* 


75* 

80 

82 

87 

84* 

80 


18* 


Note  6 — In  compliance  with  Order  of 
(See®,  @). 

@Rates  will  not  apply  on  Boxes  or  Car 
the  following  points,  viz.:  Armour,  Ga.,  B 

All  headings  set  aeross  on  one  slug. 


4 

76i 

1 

2 

3 

4 

1 

2 

3 

4   1 

63* 

70 

84* 

95* 

51 

56 

68 

76k   i 

76* 

63* 

70 

84* 

951 

51 

56 

68 

76i  1 

76i 

63* 

70 

84* 

95^ 

51 

56 

68 

76i  1 

82* 

67* 

74* 

90 

lOli 

55 

60  i 

73i 

82i  1 

82h 

67* 

74i 

90 

101* 

55 

60* 

73^ 

82i  1 

66 

52* 

58 

70 

79 

40 

44 

53* 

60  1 

76 

59 

65 

78^ 

88* 

46* 

51 

62 

70  i 

82i 

(36)60 

(27)66 

(51)80 

©90 

51 

56 

68 

76J  1 

82J 

^60 

(27)66 

@80 

©90 

51 

56 

68 

76i  i 

37 

37 

40* 

49* 

551 

24* 

27 

32i 

37  1 

68* 

58 

64 

77* 

87 

45* 

50 

60i 

68*  1 

68* 

58 

64 

77* 

87 

45* 

50 

60* 

68i  i 

67i 

57* 

63* 

76i 

86i 

45 

49* 

60 

67i  1 

48 

44* 

49 

59* 

67 

32 

35 

42* 

48  i 

96 

76* 

84 

102 

115 

64 

70* 

85* 

96  1 

76* 

63* 

70 

84* 

95* 

51 

56 

68 

76i  1 

64* 

55* 

61 

74 

83* 

43 

47* 

57i 

64*  1 

To 


Alabama  City  Ala, 

Albany  Ga 

Aliens  Sanatarium Ga, 

Americus Ga 

Anniston  Ala, 

Athens  Ga, 

Atlanta  Ga 

Attalla Ala, 

Augusta Ga 

Avondale  Estates Ga 

Bainbridge Ga 

Bemiston  Ala, 

Birmingham  (see  Item  114)  __-Ala, 

Bristol Va.-Tenn 

Cartersville Ga 

Cedartown  Ga 

Chattanooga Tenn 

Columbus Ga 

Cordele Ga, 

Cornell Ga 

Dalton  Ga 

Dawson  Ga 

Decatur Ala 

Decatur  Ga 

Dothan Ala 


From 

Bay  Harbor,  Fla. 

Millville  Junction, 

Fla. 
Panama  City,  Fla. 
Descriptions 
D 


67* 

92 

74* 

92 

67* 

74* 

67  i 

67* 

74* 

67* 

100* 
67* 
67* 

124 
67* 
67* 
67* 
67* 
92 
67* 
67* 
92 
97 
67* 


67i 
92 

74* 

92 

67* 

74* 

67* 

67* 

74* 

67* 

100* 
67* 
67* 

124 
67* 
67  .t 
67* 
67* 
92 
67* 
67* 
92 
97 
67* 


F 


59 

44 

40 

30 

58 

55 

41 

47 

44 

53 

58 

56 

42 



59 

44 

56 

42 

39* 

59 

44 



60 

45 

47 

58 

44 



36 

27 

55 

41 



53 

40 

79 

59 



60 

45 



59 

44 

64 

48 

48 

36 

39* 

49 

37 

58 

56 

42 

39* 

63 

47 

41 

31 

60 

45 

58 

44 



32 

24 

34 

806  o 


8  Point  Ionic  No.  4  with  Antique  No.  8  (8A452) 

Complete  font  is  made  on  eleven  unit  sises,  as  indicated  below 


Units 

Size 

Characters 

4i 

.0277 

,  .  '  '  1  1  1  (  )  4-Em  Space 

6 

.0369 

i  1  -  -  Hyphen  3-Em  Space 

9 

.0553 

I  f  j  r  s  t  :   ;   !  -  ||  Figures  $ 

-*  ^\  n    Ml    f  1    1  n  1  EnSpace 

10 

.0615 

c  e  V  X  z  ? 

11 

.0676 

J  S  a  g  0  y 

12 

.0738 

b  d  k  p  q  fi  fl 

13 

.0799 

EFLPhnuff 

14 

.0861 

A  B  C  T  V  Z 

15 

.0922 

D  N  O  E,  U  Y  w 

16 

.0984 

G  H  K  Q  X  & 

18 

.1107 

M  W  m  __  —  Em  Space 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&     abcdefghijklmnopqrstuvwxyzflflff 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&     abcdefghijklmnopqrstuvwxyzfiflff 


1234567890$,.:;-'  '  |  1 1  II  — 
1234567890$,. :;-"  1 1 1  ll— - 


_._()?!-!  M  Ml  nini*-* 

()?!-li-IKJIllUI*-4. 


8  Point  Ionic  No.  4  with  Antique  No.  8  (Self-Spacing)  (8A454) 

Complete  font  is  made  on  seven  units  of  2,  3,  4,  5,  6,  7 ,  and  S  points,  as  indicated  below 


Points 
2 

Size 

Characters 

.0277 

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3 

.0415 

i  1  Hyphen  En  .  Figure  Dash 

4 

0553 

Icefjrstvxz  Figures  :  :  !  *  - 

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7 
8 

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w 

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M  W  m  —  Em  __ 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&     abcdefghijklmnopqrstuvwxyzfiflff 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&    abcdefghijklmnopqrstuvwxyzfiflff 


1234567890$,.:;-"  ill 
1234567890$,. : ;-"  1 1 1 


._.()?!-unMnini*-i. 

-     ()?!-UUUniTJll*-4. 


806  p 


3   C  D  E  F  G  H 
J  K  L  M  N  0  P 

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Z   1   2   3   4   5   6 

3  C  D  E  F  G  H 
J  K  L  M  N  0  P 

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Z   1   2   3   4   5   6 

3   C  D  E  F  G  H 
J  K  L  M  N  0  P 

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Z   1   2   3   4   5   6 

3   C  D  E  F  G  H 
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rc   D  E  F  G  H 
J  K.L  M  N  0  P 

I  S   T  U  V  W  X 
Z   1   2   3   4   5   6 

J   C  D  E   F  G  H 
J  K  L  M  N  0  P 

I  S   T  U  V  W  X 
Z   1   2   3  4   5   6 

5   C  D  E  F  G  H 
J  K  L  M  N  0  P 

I  S   T  U  V  W  X 
Z   1   2   3   4   5   6 

i   C  D  S  F  G  H 
J  K  L  M  N  0  P 

1  S   T  U  V  W  X 
Z   1   2   3  4   5   6 

i   C  D  E  F  G  H 
J  K  L  M  N  0  P 

t  S   T  U  V  W,X 
Z   1   2   3  4   5   6 

i  D  D  E  F  G  H 
J  K  L  M  N  0  P 

I  S   T  U  V  W  X 
Z   1   2   3  4   5   6 

1  C  D  E  F  G  H 
J  K  L  M  N  0  P 

t  S  T  U  V  W  X 
Z   1   2   3   4   5   6 
S   C   D  E  F  G  H 
J  K  L  M  N  0  P 
.  S   T  U  V  W  X 
Z   1   2   3   4   5   6 
1   C  D  E  F  G  H 
J  K  L  M  N  0  P 
[  S   T  U  V  W  X 
Z   1   2   3  4   5   6 
1  C  D  E  F  G  H 
J  K  L  M  N  0  P 
:  S   T  U  V  W  X 
Z   1   2   3   4   5   6 
i   C  D  E  F  G  H 
J  K  L  M  N  0  P 
.  S  T  U  V  W  X 
Z   1   2   3   4   5   6 
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:  S  T  U  V  W  X  ■ 
Z   1   2   3  4   5   6 

C  D  E  F  G  H 
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Z   1   2   3   4   5   6 
.  C  D  E  F  G  H 
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S   T  U  V  W  X 


^C  TRADE  1^1  ^QYYPE"'^^ 

TYPEWRITER 
FACES 


Linotype  Typewriter  Faces  meet  the  exacting 
requirements  of  facsimile  letter  printing. 
When  printed  through  silk  or  ribbon.  Lino- 
type Underwood  faces  match  perfectly  with 
filled-in  addresses.   The  Remington  faces, 
heavier  in  line,  may  be  printed  direct  from 
slugs,  without  silk  or  ribbon.   They  give 
satisfactory  results  where  matched  fill-in 
is  not  essential. 

Both  Underwood  and  Remington  faces  in  all 
point  sizes  are  available  as  two-letter 
matrices — regular  characters  in  the  normal 
position,  the  identical  characters  under- 
scored in  the  auxiliary  position. 

Facsimile  typewriter  composition  can  be 
set  on  any  Linotype.   No  special  attach- 
ments or  additional  equipment  are  needed. 
Since  all  characters  and  spaces  needed  for 
typewriter  composition  are  uniform  in 
width,  space-matrices  are  always  used 
between  words  and  one  or  more  spacebands 
are  put  in  at  the  end  of  the  line  for 
justification. 


MERGENTHALER  LINOTYPE 
COMPANY,  BROOKLYN,  N  Y. 

r^lEW  YORK   CITY       C  H  I  C  AG  0   ■   S  A  N   F  R  A  NC  I  SC 
ORLEANS     CANADIAN    LINOTYPE,    LIMITED,    T  ,,  .  _Y       0 
Representatives  in  the  Principal  Cities  of  the  World 


I  J  K  L  M  N  0 
QRSTUVWJ 

Y  Z  1  2  3  4  5 
ABCDEFGK 

I  J  K  L  M  N  0 
QRSTUVWX 

Y  Z  1  2  3  4  5 
ABCDEFGK 

I  J  K  L  M  N  0 
QRSTUVW:( 

Y  Z  1  2  3  4  5 
ABCDEFGF 

I  J  K  L  M  N  0 
QRSTUVWJi 

Y  Z  1  2  3  4  5 
ABCDEFGK 

I  J  K  L  M  N  0 
QRSTUVWJ 

Y  Z  1  2  3  4  5 
ABCDEFGt 

I  J  K  L  M  N  0 
QRSTUVWJ 

Y  Z  1  2  3  4  5 
ABCDEFGK 

I  J  K  L  M  N  0 
QRSTUVWJ 

Y  Z  1  2  3  4  5 
ABCDEFGK 

I  J  K  L  M  N  0 
QRSTUVWJ 

Y  Z  1  2  3  4  5 
ABCDEFGF 

I  J  K  L  M  N  0 
QRSTUVWJi 

Y  Z  1  2  3  4  5 
ABCDEFGF 

I  J  K  L  M  N  0 
QRSTUVW> 

Y  Z  1  2  3  4  5 
A  B  C  D  E  F  G  F 

I  J  K  L  M  N  0 
QRSTUVW> 

Y  Z  1  2  3  4  5 
A  B  C  D  E  F  G  F 

I  J  K  L  M  N  0 
QRSTUVW3 

Y  Z  1  2  3  4  5 
A  B  C  D  E  F  G  F 

I  J  K  L  M  N  0 
QRSTUVWJ 

Y  Z  1  2  3  4  5 
A  B  C  D  E  F  G  F 

I  J  K  L  M  M  0 
Q  R  S  T  U  V  JW  ; 

Y  Z  1  2  3  4  5 
A  B  C  D  E  F  G  F 

I  J  K  L  M  N  0 
QRSTUVWJ 

Y  Z  1  2  3  4  5 
A  B  C  D  E  F  G  F 

I  J  K  L  M  N  0 
Q  R  S  T  U  V  W  J 

Y  Z  1  2  3  4  5 
A  B  C  D  E  F  G  F 

I  J  K  L  M  N  0 
Q  R  S  T  U  V  W  J 

Y  Z  1  2  3  4  5 
A  B  C  D  E  F  G  F 

I  J  K  L  M  N  0 
Q  R  S  T  U  V  W  > 

Y  Z  1  2  3  4  5 
t   u  r  n  V  ff  n  \ 


10 


12 


12 

No,  4 


(.■■LINOTYPE-)       REMINGTON  typewriter 


y  Pciiiit  with  T'mlersciire  (8A32)  14,5  Cli;iratters  to  the  inch 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN? 
WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  OF  TYPE? 
What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good 
design  is  always  practical  design.   And  what  they  see  in  a  good  type  design  is, 
partly,  its  excellent  practical  fitness  to  perform  its  work.   It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has.   Your 
good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly  the 
work  that  the  chair  has  to  do— neither  clumsy  and  thick,  nor  "skinny"  and  weak- 
no  waste  of  material  and  no  lack  of  strength.   And,  beyond  that,  the  chair  may 
have  been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and  curves 
and  proportions-it  may  be,  actually,  a  work  of  art.   The  same  thing  holds  for 
shapes  of  letters.   And  your  chair,  or  your  letter  (if  a  true  artist  made  it)  will 
have,  besides  its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or 
stamped  on  paper  and  read.   That  explains,  in  a  way,  why  the  experts  rave  over  the 
fine  shapes  of  letters;  but  it  fails  to  explain  wherein  the  shapes  are  fine.   If 
you  seek  to  go  further  with  the  inquiry,  theories  will  be  your  only  answer.   Here 

III  I'uiiit  with  I'liilerscore  (lnA27-'i  12  Cliar.icters  to  the  inch 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS 
ESTHETIC  DESIGN?   WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE 
over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their  eyes?   Good  design  is  always  prac- 
tical design.   And  what  they  see  in  a  good  type  design  is,  partly, 
its  excellent  practical  fitness  to  perform  its  work.   It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.   Your  good  chair  has  all  of  its  parts  made  nicely 
to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do- 
neither  clumsy  and  thick,  nor  "skinny"  and  weak— no  waste  of 
material  and  no  lack  of  strength.   And,  beyond  that,  the  chair  may 
have  been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine 
shapes  and  curves  and  proportions— it  may  be,  actually,  a  work  of 

12  Point  «itli  ITnciersc.ire  (12A20_'I  1(1.3  Charruters  to  the  inch 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF 
ITS  ESTHETIC  DESIGN?   WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF 
printing  rave  over  a  specific  face  of  type?  What  do  they 
see  in  it?   Why  is  it  so  superlatively  pleasant  to  their 
eyes?   Good  design  is  always  practical  design.   And  what 
they  see  in  a  good  type  design  is,  partly,  its  excellent 
practical  fitness  to  perform  its  work.   It  has  a  "heft" 
and  balance  in  all  of  its  parts  just  right  for  its  size, 
as  any  good  tool  has.   Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  exactly  the  work 
that  the  chair  has  to  do— neither  clumsy  and  thick,  nor 

12  Point  No.  4  with  Underscore  I12A370)  10  Characters  to  the  inch 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  EACE  IN  TERMS 
OE  ITS  ESTHETIC  DESIGN?   WHY  DO  THE  PACE-MAKERS  IN  THE 
art  of  printing  rave  over  a  specific  face  of  type?   What 
do  they  see  in  it?   Why  is  it  so  superlatively  pleasant 
to  their  eyes?   Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design  is,  partly,  its 
excellent  practical  fitness  to  perform  its  work.   It  has 
a  "heft"  and  "balance  in  all  of  its  parts  just  right  for 
its  size,  as  any  good  tool  has.   Your  good  chair  has  all 
of  its  parts  made  nicely  to  the  right  size  to  do  exactly 
the  work  that  the  chair  has  to  do— neither  clumsy  and 


808 


UNDERWOOD  typewriter     € 


linotype"^ 


in  Point  with  I'liilers 


nnA270) 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS 
ESTHETIC  DESIGN?   WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE 
over  a  specific  face  of  type?   What  do  they  see  in  it?   Why  is  It 
so  superlatively  pleasant  to  their  eyes?   Good  design  is  always 
practical  design.   And  what  they  see  in  a  good  type  design  is, 
partly,  its  excellent  practical  fitness  to  perform  its  work.   It  has 
a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.   Your  good  chair  has  all  of  its  parts  made  nicely 
to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do- 
neither  clumsy  and  thick,  nor  "skinny"  and  weak-no  waste  of  mate- 
rial and  no  lack  of  strength.   And  beyond  that,  the  chair  may  have 
been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and 
curves  and  proportions-it  may  be,  actually,  a  work  of  art.   The 


10 


Ii.ir.ictors  to  the  iii»  Ii 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS 
ESTHETIC  DESIGN?   WHY  DO  THE  PACE-MAI{ERS  IN  THE  ART  OF  PRINTING  RAVE 
over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is  it 
so  superlatively  pleasant  to  their  eyes?   Good  design  is  always 
practical  design.   And  what  they  see  in  a  good  type  design  is, 
partly,  its  excellent  practical  fitness  to  perform  its  work.   It  has 
a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.   Your  good  chair  has  all  of  its  parts  made  nicely 
to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do- 
neither  clumsy  and  thick,  nor  "skinny"  and  weak-no  waste  of  mate- 
rial and  no  lack  of  strength.   And,  beyond  that,  the  chair  may  have 
been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and 
curves  and  proportions-it  may  be,  actually,  a  work  of  art.   The 


10 

No.  4 


12  Pninl  with  I'liilerscire  (l-'AJn'll 

HOW  IS  ONE  TO  AS 
OF  ITS  ESTHETIC 
art  of  printing 
do  they  see  in  i 
to  their  eyes? 
And  what  they  se 
excellent  practi 
a  "heft"  and  hal 
its  size,  as  an;y 
of  its  parts  mad 
the  work  that  th 


SESS  AND  EVALUA 
DESIGN?   WHY  DO 
rave  over  a  spe 
t?   Why  is  it  s 
Good  design  is 
e  in  a  good  typ 
cal  fitness  to 
ance  in  all  of 
good  tool  has. 
e  nicelA/  to  the 
e  chair  has  to 


TE  A  TYPE 

THE  PACE 

cific  fac 

o  superla 

always  pr 

e  design 

perforijj  i 

its  parts 

Your  go 

right  si 

do— ne it he 


FACE  IN  TERMS 
-MAKERS  IN  THE 
e  of  type?   What 
lively  pleasant 
act i cal  design, 
is,  partly,  its 
ts  work.   It  has 

just  right  for 
od  chair  has  all 
ze  to  do  exactly 
r  clumsy  and 


12 


HOW  IS  ONE  TO  ASSES 
OF  ITS  ESTHETIC  DES 
art  of  printing  rav 
do  they  see  in  it? 
to  their  eyes?  Goo 
And  what  they  see  i 
excellent  practical 
a  "heft"  and  lalanc 
its  size,  as  any  go 
of  its  parts  made  n 
the  work  that  the  c 


lu  (  h.ir.K  tcrs  to  the  iiuh 

S  AND  EVALUATE  A  TYPE  FACE  IN  TERMS 
IGN?  WHY  DO  THE  PACE-MAKERS  IN  THE 
e  over  a  specific  face  of  type?   What 

Why  is  it  so  superlatively  pleasant 
d  design  is  alw  •■  ^'tical  design. 
n  a  good  type  u       ' s,    partly,  its 

fitness  to  perform  its  work.   It  has 
e  in  all  of  its  parts  just  right  for 
od  tool  has.   Your  good  chair  has  all 
icely  to  the  right  size  to  do  exactly 
hair  has  to  do— neither  clumsy  and 


12 

No  2 


809 


COMPARATIVE  SPECIMENS    ^  uNOTyPE-^ 


:-;  I'dlllt   Reniiii-.;l..ii  U'illi    (Intlcrsicri-    (X/,f:'l 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&    abcdef ghijklmnopqrstuvwxyz    1234567890$(*/ , . : ; - '"?!    -{ ) 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&    abcdef ghi.lklmnopqrstuvwxyz    1254567890Sc?/.  .::-'"?!    -(  ) 


10 


in  I'l.iiit   RciniiiKlriii  Willi  I  Iirdersrcrc-  (I0A27JI 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&  abcdef ghijklmnopqrstuvwxyz 
ABCDEFGHI JKLMNOPQRSTUVWXYZ&  abcdef ghij  klmnopqrstuvwxyz 


ID  I'.Hiil  Cml.Tvv,.,,.!  Willi  |-iulcis,nre  (10A27O) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&  abcdefghi jklrnnopqrstuvwxyz 
ABCDEFGHIJKLMNOFQRSTUVWXYZ&   abcdefghi.lklmnopqrstuvwxyz 

10  I'oint  Uiuierwood  No.  4  with  Underscore  (10A394) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&  abcdef ghijklmnopqrs tuvwxyz 
ABCDEFGHIJKLMNQPQRSTUVWXYZ&  abcdef  ghi.lklmnopqrstuvwxyz 


1234567890$^/ 
1254567890S(^/ 

1234567890$^/ 
1254567890$(^/ 

1234567890$^/ 
1234567890$^;/ 


12 


IJ   r..nil    KciiiiiiKliiii  iMlh    I    iiclcis,.,ir   112/, J02) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&   abcdef ghijklmnopqrstuvwxyz     123 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&   abcdef  ghi.lklmnopqrstuvwxyz    125 

12  Point  KcmiiiKtim  No.  4  with   riiilerscorc  (12A370) 

ABCDBFGHIJKLMNOPQ,RSTUVWXYZ&  abcdef ghi jklrnnopqrstuvwxyz  12 
ABCDEFGHI JKLMITOPQ.RSTUVWXYZ&  abcdef p:hi,1klmnopqrs tuvwxyz  12 

12  Point  Underwood  with  Underscore  (12A200) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&  abcdefghi jklrnnopqrstuvwxyz   12 
ABCDEFGHIJKLMNOPQ,RSTUVWXYZ&  abcdef  ghij  klmnopqrstuvwxyz  12 

12  Point  Underwood  No.  2  with  Underscore  (12A264) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&  abcdefghi jklrnnopqrstuvwxyz   12 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&  abcdefghi jklrnnopqrstuvwxyz   12 


LIST  OF  CHARACTERS  IN  TWO-LETTER  FONTS 


REMINGTON 

ABCDEFGHITKLMNOPQRSTUVWXYZ& 
ABCDEFGHI  JKLMNOPQ.RSTUVWXYZ& 

abcdefghi  jklrnnopqrstuvwxyz 
abcdefghi jklrnnopqrstuvwxyz 


1234567890$^/, . 
1254567890$^/, . 


' "? !  I  — ( ) 
'"?! !-() 


UNDERWOOD 

ABCDEFGHI JKLMNOPQRSTUVWXYZ& 
ABC  DEFGH I  JKLMN0PQ,RS  TUVWXYZ& 

abcdefghi jklrnnopqrstuvwxyz 
abcdefghi jklrnnopqrstuvwxyz 


123456789010/, . 
1234567890$iz^/,  . 


@*[]#%M/2M 

@*n#%/4/2M 


810 


""""■"■"""""""""""""""""" ■ '"""■ '" ■■■■■■■..■..■■..■.■.■.. 


THE 

LINOTYPE 

VULCAN 

BOLD 

fWmmfiT^WHTm^mm^^H^^ffHTWHTTTTT^^ff^T^^ff^^^^fl^^^^^^^^^^^^^^^^^^^^^^^ffl 


^&  TKis  series  demonstrates  that  a  hold  (ace  can  he  forceful 
ivithout  hein^  hrutal;  different  -without  heinj^  ;grotes<|ue; 
novel  ivithout  doin^  violence  to  the  classic  forms  that  centU" 
ries  of  usage  have  assigned  to  the  several  letters.  Use  Vulcan 
Bold  as  a  means  of  achieving  the  emphatic  display  demanded 
hy  the  modern  techni<jue  of  advertising  and  yet  keep  within 
the  hounds  of  good  taste,  c:^  Vulcan  Bold  is  a  trifle  too  hlach 
to  he  used  for  texts,  unless  for  a  short  hloclc  of  matter  which 
can  he  >videly  leaded  as  has  heen  done  here.  It  is  excellent  for 
display  headings  and  will  combine  M^ell  with  almost  any  face, 
old  style  or  modern;  conventional  or  manneristic. 


MERGENTHALER   LINOTYPE  COMPANY 

Brooklyn,  New  York. 

New  York   City,  Chicago,  San  Francisco,  Ne-w   Orleans 

Canadian    Linotype,   Limited,   Toronto 

Representatives  in  Principal  Cities  at  the  World 


iiiiiiiiiiiiiiiiiiiiniimimimm.mi^ 


^^^^^^^^^^W^^^^^^^^^^^^^^^^^^M 


(aaaiLM.h^'i-j^gsS)      VULCAN  BOLD      with  italic 


10  Toiiit  (]nA3fin)  l,,.uiri   .  .i-e  alphabet,  164  points.  Fissures.  .083 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TE 

„-j-^^^j,Jjgjjj-  Ho-^v  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esth  1234 

HOW  IS  ONK  to  assess  and  evaluate  a  type  face  in  terms  of  its  1234 


oi  Sizes 


12  Point  (12A300)  Lower  case  alphabet.  181  points.  Figures.  .0968 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FA 

HoM^  IS  one  to  assess  and.  evaluate  a  type  face  in  terms  of  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  1234 

14  Point  (MA17r))  '  Lower  case  alphabet.  210  points.  Figures.  .1107 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  T 

Uow  is  one  to  assess  and  evaluate  a  type  face  in  1 1234 
HOW  IS  ONE,  to  assess  and  er>ailuAte  a  type  iace  1234 

IX  I'oint   (l.^A'l  I  I  [  ..ucr  ca-.e  .ilph.ilief .  272  points.   I'i^urc  ]  .     1  24.^  :  2  t.i  f).  .  1  ?22 

HOW  IS  ONE  TO  ASSESS  AND  EV  AL 

How  is  one  to  assess  and.  evaluate  a  typ  12 

21   Point   (21^21  )  I.-.wer  rase  alphabet.  313  points.   Figure  1,  .1382:  2  to  0,  .166 

HOW  IS  ONE  TO  ASSESS  AND  E 

HoM^  is  oite  to  assess  and  evaluate  12 

24  Point   (24A2f.l  )  Lou.-r  i.ise  alph.ihel.  3f,l   p. nuts.    Figure  1.  .166:  2  to  0.  .1937 

HOW  IS  ONE  TO  ASSESS  A 

HOW  IS  one  to  assesis  and  ev  12 

18  Point  Italic  (18A317)  Lower  case  alphabet.  272  points.  Figure  1.  .1245;  2  to  0,  .1522 

HOW  IS  one  to  assess  and  evatlvLate  a  tl2 

24  Point  Italic  (24A263)  Lower  case  alphabet.  361  points.  Figure  1.  .166;  2  to  0,  .1937 

HOW  IS  one  ta  assess  amd  evl2 


LIST  OF  CHARACTERS  IN  TWO-LETTER  FONTS  WITH  ITALIC 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&) 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&) 

12345  al>cdef^ltijkImnop<jrst«v*vxy2  67890 

12345  ahcde{^ltijlilmnot*ij[rstuvwxyz  67S90 

$  £  ,.:;-*'?! ...()*[]%  Vs  1/4  %  1/2  %  34  Vs 

$  £  ,..-,-*'?: ...  C>  *  [  ]  %  Vs  1/4  %  1/2  %  ¥4  Vs 


812 


(glKJ^ii^^      VULCAN  BOLD      x^ith  italic 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TE 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic 
design?  Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a 
specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superla- 
tively pleasant  to  their  eyes?  Good  design  is  always  practical  de- 
sign. And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent 
practical  fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in 
all  of  its  parts  just  right  for  its  size,  as  any  good  tool  has.  Your  good 
chair  has  all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly 
the  'Work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor 
"skinny"  and  weak,  no  waste  of  material  and  no  lack  of  strength. 
How  is  one  to  assess  and  evaluate  a  type  iace  in  terms  of  its  esthetic 
design?  Why  do  the  pace-ntahers  in  the  art  of  printing  rave  over  a 


10  point 


ABCDEFGHIJKLMNOPQRSTUVWXYZ&) 

ABCDEFGHlJKLMNOPQRSTUVWXYZiSD 

ahcdefghijkImnop<irstuvwxyz  ($£,.:;*-'?!*)  1234567890 

abcde/ghi/klmnop^rstuvivx-yz  (^  c£  ,..•;*-'?!*>  1234S67S90 


Matrix  Inf,>nii,iti,,ii     IDA.f')".    l-owt-r  cise  .'ilpliaLct,    l(',4  |>. 
.li.-iiMiel  maua/iiie.  C.iclo  wmd.  7A\   V. 


na.  pci-i...l  aiul  thin  space.  .IHI3.   Runs  in  W 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FA 

Hoiv  IS  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  es- 
thetic design?  Why  do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why 
is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is 
always  practical  design.  And  what  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fitness  to  perform  its 
work.  It  has  a  **hef  t*' and  balance  in  all  of  its  parts  just  right 
for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  exactly  the  work  that 
Hovt^  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  es- 
thetic  design?  Why  do  the  pace-malcers  in  the  art  of  printing 

(thrrr  p.n»t   l,„,l,;li 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&) 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&) 

ahcdefghijklmnopdrstuvwxyz  ($  i£  ,.:;*-'?!*)   1234567890 
ahcdefghijklmnoptirstuvwxyx  ($£,.:;*-'?!*)  1254567890 


12  point 


Mull 
cliaii! 


I   hili'iimiti.nt  :  IJA.'i"!    L.iutT  . 
rl  inana/iiio.  I  ...I..  w,.i<l.  y.U.V. 


)is-l.  Uuns  ill  W 


813 


rffl3ii:i.h4'i-j^BS)      VULCAN  BOLD      witlt  italic 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  T 
14  point      FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN? 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms 
of  its  estKetic  design?  Why  do  tKe  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant 
to  their  eyes?  Good  design  is  always  jfr^cticAl  design. 
And  M^hat  they  see  in  a  ^ood  type  design  is,  partly,  its 
excellent  practical  fitness  to  perform  its  worlc.  It  has 
a  **hef  t"  and  halance  in  all  of  its  parts  just  ri^ht  for  its 
size,  as  any  good  tool  has.  Y^our  good  chair  has  all  of 
its  parts  made  nicely  to  the  right  size  to  do  exactly  the 
worh  that  the  chair  has  to  do,  neither  clumsy  and 
thick,  nor  "shinny"  and  weah,  no  ivaste  of  nuaterial 
and  no  lack,  of  strength.  And,  heyond  that,  the  chair 
may  have  heen  made  hy  a  man  who  -vvorhed  out  in  it 
his  sense  of  fine  shapes  and  curves  and  proportions: 
it  niay  he,  actually,  a  work  of  art.  The  same  thing 
holds  for  shapes  of  letters.  And  your  chair,  or  your 
letter  (if  a  true  artist  made  it)  M^ill  have,  hesides  its 
good  looks,  a  suitability  to  the  nth  degree  to  he  sat  in. 
How  is  one  to  assess  and  ex'aluaite  a  type  iace  in  tertns 
o{  its  estlietic  design?  Why  do  tlie  jfAce-'mah.ers  in  the 
art  oi  printing  ra\'e  o%fer  a  specitic  iince  oi  type?  MI^ViAt 

(four  point  Iradcd) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&) 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&) 

ahcdefghijklmnop4rstuvwxyz  ($£,.:;*-'?!*)  1234567 
ahcdeigliijh.lMnnopq[rstuvwxyx  ($£,.:;*''?!*)  1234B67 

Miitiix  Injormiitiiin  :  14A)7r,.  I,,.wer  case  alphabet.  210  p<iints.  KiKures.  .1107;  coiiiTiia,  pericid  and  thin  space.  .0553.  Kuns  in  90 
channel  niai;a?ine.  Code  \v<ird.  ZIMI. 


814 


r(gs3iiM.h4'i=3:eS)      VULCAN  BOLD      (aa^iM.hi-j-j^sS) 


HOW  IS  ONE  TO  ASSESS  AND  EV AL 

A  TYPE  FACE  IN  TERMS  OF  ITS  EST     ^^  ''"*"* 

How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design?  WKy 
Aa  the  pace-'mahers  in  the  art  of  printing 
rave  over  a  specific  face  of  type?  What  d.o 
they  see  in  it?  Why  is  it  so  superlatively 
pleasant  to  their  eyes?  Grood  design  is  al" 
ivays  practical  dLesi^n.  And  M^hat  they  see 
in  a  ^ood  type  design  is,  partly,  its  excel- 
lent practical  fitness  to  perform  its  M^orh. 
It  has  a  *'heft''  and  halance  in  all  of  its 
parts  just  ri^ht  for  its  size,  as  any  ^ood 
tool  has.  Your  ^ood  chair  has  all  of  its 
parts  made  nicely  to  the  ri^ht  size  to  do 
exactly  the  M^orh  that  the  chair  has  to  do, 
neither  clumsy  and  thick,  nor  **shinny" 
and  ^%vealt,  no  M^aste  of  material  and  no 
lack  of  strength.  And,  heyond  that,  the 
chair  may  have  he  ($,.:;*-'?!)  1254567890 


p,.i„t  Ir.uh-d) 


ABCDEFGHIJKLMNOPQRSTUVW 

al»ctlef^liijkImiiop<|i*st«vwxy« 

Mainx  lul,.,  „ialu-u  1  s  ■.  11  I.  I,.,„,t  .  a^i-  .ilpll.-iliMl .  -'7_'  p.iiiits,  I'lmnr  1.  IJl-  :  -'  tu  ll.  I  ~.'.,'  Kiin-  ni  ;  _'  ili.mnel  lll.H!.i/inc  :  aisc 
Imh,-i  .  ,.^c,  V\ic|.t  111  and  \\.  in  rap  ilianiiels  .if  '(I)  ihaiincl  inaua/iiu-  vvitli  laps  ami  tmuii--  in  U  .  Iianm-I  aiiMliarv  iiiafai-inp 
(..,!,_■  UM,<1.  ZIMV. 


815 


(ga^LM-ki'^d^S)      VULCAN  BOLD      ca^LM-ki'id:^ 


21  point 


HOW  IS  ONE  TO  ASSESS  AND  E 

HoM^  is  one  to  assesis  and  evaluate  a 
type  face  lit  terms  of  its  esthetic  dc'^ 
si^n?  Why  do  the  pace-makers  in 
the  art  of  printing  rave  over  a  spe« 
cif  ic  face  of  type?  What  do  they  see  in 
it?  Why  is  it  so  superlatively  pleas-^ 
ant  to  their  eyes?  Good  design  is 
al^^ays  practical  design.  And  ^«vhat 
they  see  in  a  ^ood  type  design  is^ 
partly^  its  excellent  practical  fit- 
ness to  perform  its  M^orh.  It  has  a 
^^heft'^and  halance  in  all  of  its  parts 
just  ri^ht  for  its  sij^e,  as  any  ^ood 
tool  has.  y^our  ^ood  chair  has  all  of 
its  parts  made  nicely  to  the  ri^ht 
si^e  to  do  exactly  the  M^orlt  that  the 
chair  has  to  d  ($,.:; V?!)  1254567890 


(four  point  leaded) 


ABCDEFGHIJKLMNOPQRSTU 

ahcdef^hijlclmnop4rstuv^%vxy:^ 

Matrix  Iniormatiou  :  21A2].  Luwer  case  aIphaJ)et.  313  points.  FiKure  1,  .13K3;  2  to  0.  .16^).  Runs  in  72  channel  magazine;  also 
lower  case,  except  ni  and  w,  in  cap  channels  of  90  channel  magazine  with  caps  and  figures  in  Wide  34  channel  auxiliary  maga- 
zine, (i.de  word.  ZINA. 


816 


(.Sili:i-k4'id^)      VULCAN  BOLD      raa3<i:i.k4'ij^ 


HOW  IS  ONE  TO  ASSESS  A 

Haw  is  one  to  asiises;^  and  evalu'* 
ate  any  type  (ace  in  terms  of  its 
esthetic  design?  Wty  do  pace- 
makers in  the  printing  art  rave 
over  a  specific  type  face?  Wtat 
do  tliey  see  in  it?  Why  is  it  so 
superlatively  pleasant  to  their 
eyes?  A.  ^ood  design  is  alivays  a 
practical  design.  A.nd  ivhat  is 
seeik  in  any  ^ood  type  design  is, 
in  part,  its  excellent  practical 
fitness  to  perform  its  ivorlt.  It 
has  a  **hef  t**  and  ha  ahcdef ^hij 
hlmnop^rstnvwxy^  ($,.:;*-'^?!) 


(four  f'iiil  leaded) 


ABCDEFGHIJKLMNOPQ 
RSTUVWXYZ&)  123456 

Matiix  Injarmution:  .MA261.  I.i.wer  r.i^e  .iliili.ilii-l,  M.\  points  I'iKurt-  1.  If.rt:  .''  t..  n.  .1<(,17.  Kuiis  in  Wide  72  di.imiel  niaK.i/itie; 
als..  l.iwcr  i-as<-  in  lap  channcK  mI  ;j  ,li.,nn<-l  inaiia/nii-  «illl  caps  anil  liunri-.  Hi  Wnic  M  illanni-1  anviliaiy  niaKa/inc,  l'..,lo 
wcr.i.  /INO. 


24  point 


817 


rgB3WLM.h4'^=j^-)      VULCAN  BOLD      italic 


18  point 


24  point 


HOW  IS  ONE  TO  ASSESS  AND  EVAL 

Haw  is  one  to  assess  and  e^^faLluaite  a.  type 
face  in  terms  at  its  estlietic  design?  Wliy 
da  th.e  pace^malcers  in.  tlie  art  at  printing 
rave  over  a  specific  face  at  type?  Wliat  da 
they  see  in  it?  Why  is  it  sa  superlatively 
pleasant  ta  their  eyes?  Gaad  design  is  al^ 
ways  practical  de  ($,.:;*''?!)  1234S67890 


(three  point  leaded) 


ABCDEFGHUKLMNOPQRSTUVW 

ahcdei^hijlclmnapqirstvLWt^xyx 

Matrix  Information:  18A317.  Lower  case  alphabet,  272  points.  Figure  1.  .1245:  2  to  0,  .1522.  Runs  in  72  channel  magazine;  also 
lower  case,  except  m  and  w.  in  cap  channels  of  90  channel  magazine  with  caps  and  figures  in  34  channel  auxiliary  magazine. 
Smallest  slug  on  which  this  face  will  cast  is  17  point.  Code  word,  ZIUP. 

HOW  IS  ONE  TO  ASSESS  A 

Ha%v  its  one  ta  assess  amd  eva^ltt'^ 
ate  any  type  face  in  terms  at  its 
estlietic  design?  Wliy  da  pace^^ 
itia Jcei*s  in  tlie  priiktin^  ai*t  i*a ve 
over  a  specific  taice  a  ahcdei^liij 
Iclminapqtrsttivxrxyx;  ($9»:;^''^?!) 

(three  point  leaded) 

ABCDEFGHIJKLMNOPQ 
RSTUVWXYZ&>  1234567 

Matrix  Information:  24A263.  Lower  case  a]phal)et,  361  points.  Figure  1.  .166;  2  to  0.  .1937.  Runs  in  Wide  72  channel  magazine; 
also  lower  case  in  cap  channels  of  72  channel  magazine  with  caps  and  figures  in  Wide  34  channel  auxiliary  magazine.  Smallest 
slug  on  which  this  face  will  cast  is  22  point.  CUde  word.  ZOAD. 


818 


LINOTYPE 

GREEK  FACES 


INCLUDING 


PORSON   GREEK 

A  fine  letter-design  for  classical  coniposition 

GREEK  METROLITE 

A  new  sans-serit  for  periodical  composition 

anci  various  other 
Greek  Newspaper  and  Display  Faces 


-(      LINOTYPE""> 


MERGENTHALER  LINOTYPE  COMPANY 

Brooklyn  ,Neti'Yor}{  •  Ntii'York  City  '  Chicago  •  Siui  Fiiincisco  •  Ncic  Or/t;ii!.<  •  Candduin 
Linotype,  Limited ,  Toi onto,  Canada  •  Rcpnscntatircs  in  the  Principal  Citus  o/  the  World 


The  Greek  Alphabet 

LOWER 

CAPITAL              CASE                      NAME  OF  LETTER 

A                a                 Alpha 

B                  yS                  Beta(bay-ta) 

r                 y                 Gamma 

A                 8                  Delta 

E                 e                   Epsilon 

Z                 t,                  Ttfa.  (zay-ta) 

H                r\                 Eta  (ate-a) 

0                 Q                  Theta  (thay-ta) 

I                 I                  Iota 

K                K                 Kappa 

A                 X                  Lambda 

M                /A                  Mu  (moo) 

N                 V                  Nu  (noo) 

H                 f                  Xi  (ksee) 

O                 o                  Omicron 

n                77                 Pi  (pea) 

P                 p                  Rho(row) 

S             cr  or  9             Sigma 

T                  T                   Tau  (rhyme 

with  cow) 

T                  V                   Upsilon 

^                (f)                 Phi  (fee) 

X                X                 Chi  (key) 

^                ifj                 Psi  (p-sea) 

il                CO                 Omega 

f                 Digamma 

820 


LIST 

OF 

CHARACTERS 

IN   8,  10  AND    12 

POINT 

PORSON 

G  R  F,  F,  K 

'  Alphabetically 

Arranged  \ 

1 

A 

26 

y8         51     a          84 

^' 

123     ^         151      V 

180 

K/ 

2 

B 

27 

y           52      a           85 

124      17         152      V 

181 

« 

3 

r 

28 

8           54     d          87 

125      -^         275      u 

182 

3/ 

4 

A 

29 

e            55      d           88 

126      ^         400      u 

183 

■>\ 

5 

E 

30 

i           56      d           89 

127      t)         401      5 

193 

\ 

6 

Z 

31 

T)           57      d           90 

208      -^         153      w 

194 

f 

7 

H 

32 

d           58      d           91 

404      -^         154      dj 

296 

/ 

8 

0 

33 

L            59      d           92 

403      Tj         155      d) 

325 

35 

9 

I 

34 

K           62      a           97 

131      7/         156      d) 

327 

fC 

10 

K 

35 

X         286      d           98 

353      77         157     w 

410 

T 

11 

A 

36 

jn         204      d           99 

206      f;         158      o) 

411 

■P 

12 

M 

37 

V         279      d         280 

313      77         159      w 

290 

A 

13 

N 

38 

^         398      d         402 

299      ji         160      d) 

291 

H 

14 

T^ 

39 

o         333      d         282 

405      77         199     w 

292 

ii 

15 

o 

40 

7T        399      d         104 

O 

406     77         408      & 

293 

^ 

16 

n 

41 

p           63      d         105 

o 

334      77         407      & 

294 

^ 

17 

p 

42 

o-           68      e         106 

6 

137      u         409      w 

295 

> 

18 

V 

43 

9           69      €          107 

6 

138     V         412      (5 

414 

K? 

19 

T 

44 

T           70     €          108 

o 

139      V         196      w 

415 

KV 

20 

T 

45 

V           71      €         109 

o 

140      u         316      w 

416 

(h 

21 

O 

46 

(^           72      e          110 

o 

141      u         318      w 

417 

Ov 

22 

X 

47 

X           73      €          111 

1\ 

o 

142      i)         169      p 

23 

Xff 

48 

<//           74      €          120 

^' 

143      V         170     p 

24 

n 

49 

CO           75      €         121 

T? 

144      V         178      ' 

25 

a 

50 

/r         413      e          122 

^ 

150      u         179      ' 

These 

additional  characters  arc  also  avail; 

iblc 

in  S  and  10  point  Porson  (ircck  only. 

53 

a 

76       €                 128       ^ 

315       I                147       i 

197 

U) 

61 

T 

a 

86       I                 129       ,) 

207       ^                161       w 

200 

7 

60 

d 

93      i                130      yj 

145       ?                 162       ih 

184 

' 

203 
1 ^1 

a 

94       I                 195       fi 

146       V                 163       w 

185 

821 


8  POINT  PORSON  GREEK 

'Eweidri  5e  koivt]  to  tu>v  ' XpKabwv  edfos  ex^'  Tiva  irapa.  irdai  tois  "EX\7)<rti'  iv'  cLperfi  <prifj.riv, 
oi  fiovof  5ia  TTjv  ei>  rots  ij^eai  Kai  /3i'ois  <pi\o^eviai'  Kal  (piXapOpojiriav,  iJ.d\i<TTa  Si  did  rrjy  eis  to 
delop  exxxipeiav,  a^Lov  ^pax^  StaTropijaai  irepi  Trjs  K.vvaiOebii'  dypi6Tr]Tos,  irws  ovTes  bfioXoyovp^ivois 
'ApKaSes  ToaovTO  /car'  eKeifovs  Toiis  Kaipovs  StT^veyKav  twv  aWiav  'EW^cojc  ci/uoTTjri  Kal  wapavofiia.. 
SoKoiKTi.  5e  p.OL,  diOTi  Ta  Ka\ws  virb  tuv  dpxo-iuv  ini.vevo-qiJ.vva  Kal  (pvciKuif  <jvvTedewp-qp.ipa  nepl  Tracras 
Toiis  KaTOLKOvvTas  Trjv  'ApKadiav,  TaiiTa  Si]  irpuToi  Kal  jxovoi  ApKaSivv  iyKaTiXiirop.  fiovatKriv  yap. 
T-ffv  y'  dXridws  p.ovai.Kyjv,  vaai  ixiv  dvDpuiroii  ocpeXos  dcTKeiv.  ' ApKaai  Si  Kal  dvayKaiov.  ov  yap  rjyriTiov 
/j.ova^KTjV.  ws  "Ei^opos  (prjcriv  ev  Tib  npooifjiLU  Trjs  oXtjs  wpay/jLaTeias.  ovSa/nus  dp/xo^ovTa  Xo70!'  aiiTU 
pi\pas.  in'  dTraTT]  Kal  yorjTtia  irapeKTrjxSai  tois  dvdpiOTrois,  ovSi  tovs  TraXatovs  KpajTuiv  Kal  AaK€- 
SaL/Moviuv  aiiXbv  Kal  pvOfibv  els  Tov  iroXefiov  dvTi  crdXTriyyos  etKr]  vop.i(jTeov  eiaayayeiv,  ovSi  Toiis 
irpiiiTovs  'ApKaSiiJV  eis  ttjc  oX-qv  iroXiTeiav  ttiv  p.ovacKi}v  irapaXajieiv  eirl  to<jovtov  aiCTe  pL-q  povov  iraLcrlv 
oixjLV,  dXXd  Kal  veaviaKOLS  yevopevois  €a)s  TpiaKovT'  eTuv  KaT'  avdyKrfv  cvvTpo<pov  iroieiv  avTTjv,  rdXXa 
Tols  piois  ovTa%  oOaTTjpoTaToi'S.  TaiiTa  yap  irdaiv  euTi  yvwpipa  Kal  avv-qdrj,  SioTi  ax^Sbv  wapd  povois 
'ApKdai  TTpwTov  pev  oi  iraiSes  ck  vrjiriuiv  aSeiv  eOi^ovrai  KaTa  vopovs  tovs  vpvovs  Kal  traidvas.  oU 
eKacTTOi  KaTa  Ta  waTpia  tovs  iirixt^piovs  ripwas  Kal  Oeoiis  vpvovcri-  peTa  Si  TaiiTa  tovs  ^iXo^evov  Kal 
TipoSiov    vopovs    pavSdvoPTes    ttoXXtj    clnXoTLpia    x^P^^^^^^    KaT'    iviavTOv    tols    AiOvv(XiaKois    avXrjTais 

(two  point  leaded) 

ABrAEZHeiKAMNS0nP2TT*X*U 

aPySf(TidLKXpv^0Trp(jSTV(px4^'^ 
ddddddddddaa^eieeieeeeriijiiriTirirj^rj^TJyfl^lliUlWnrCtobddoSSovvv 

Matrix  Information  :  8A87.  Lower  case  alphabet.  100  points.  Runs  in  90  channel  magazine.  Code  word.  ZIMKI. 


10  POINT  PORSON  GREEK 

'E7rt(8>;  §£  KOii'ij  TO  roil'  'ApKaBon-  tdvK  e^n  rim  irapa  noai  TOi.%  "EAAt^ctu'  eV  apeTrj  <^r}ixrjV, 
ov  fioi'ov  oia  jyjv  iv  Toi'j  i'jBtaL  Kai  fiioi'i  (piXo^tviav  Kat  (j}i\av6po>Triav,  p-aXiaTa  8e  8ta  t7]1'  eh  to 
Ouov  evaejitiav,  a^LOv  jipa\v  8iaTrop7]aai  Trcpi  t^s  Kvi'aideojv  aypioTrjTO^,  ttco?  ovTe^  opLoXoyov- 
jxcvw;  'ApKdBe<;  roaovTO  KaT  tKeivov^  tov;  Kaipov<;  Sir'jveyKav  rwv  aWwv  'EAAt/i'cov  m/xottjtl 
Kai  Trapavofiia.  SoKovm  Se  /xoi,  Sloti  to.  Ka\(u<i  vtto  rwv  ap)(ai<Di'  cinvevoiqixeva  Kal  (/)iiCTtK(os 
avvTtOeoiprjp.iva  irepi  TrdvTa>i  rors  KaTOiKovvTa'i  Trjv  'ApKaSiav,  Tavra  Brj  TrpwTOi  Kal  fji,6voi 
'ApK<i8o>v  iyKaTeXiTTOv.  fiovdLKrjv  yap,  Trjv  y'  aXrjdw'i  fxovaiKrp',  irdai  fikv  dvdpd>Troi<;  oc^eAos 
daKeiv,  'ApKaai  8e  Kai  dvayKaiov.  ov  yap  r/yrjTeov  fiovaiKr'jv.  <us  'E</)opos  (ftrjcriv  iv  tw  irpooLp.ioi 
Trj';  ()\r]<;  ■wpayp.aTtias,  ovSa/j.oJ';  dp/xd^oira  Adyov  aVTw  pii/'as,  eir'  aTrdrrj  Kal  yorfTtta  Trapei<Tii\dai 
TOi'i  dvdpwTTOL^,  ovoe  Tov^  TraAaioi's  Kpr^roiv  Kat  AaKeoaip-ovKov  avXov  Kai  pvufxov  £ts  tov  TroXep-ov 
dvTi  crdk-myyo^  uKfj  vofxicTTeov  elaayayelv,  ov8e  tov<s  irpioTOVi  'ApKdSwv  ets  rijv  6X.r]V  TroAiretav 
TTjv  p.ovaLKy]v  7rapa\af3a.v  Ittl  touovtov  (octtc  pa]  p.ovov  Ttaiaiv  ovaiv,  dAAa  Kai  veaviaKoi^ 
yei'o/xei'ots  eu)s  TpiaKovT'  i.Tiov  KaT'  dvayK-qv  avvTpo(^ov  Troielv  ax'Trjv,  rdAAa  rots  ^tots  ovTai 
aVCTTT/poTciTOt'S.     TaVTa  yap  iraaiv  WTi  yvmpipa  Kai  avvrjO-q,   Stdrt  cr^^eSov  Trapd  puovoi'i   'ApKdai 

(two  point  leaded) 

ABrAEZH0IKAMNEOnP2TY<l>X*fi 

a^y8e^r]6iK\p.r]^OTrp(T'STvcf>^il/w 
aadddaaaaddaaaddaddeeiti'eeecrpjrjrjrjyjrjrpppjyj^^ 

Matrix  Information:  10A23.  Lower  case  alphabet.  111  points.  Runs  in  90  channel  magazine.  Code  word,  LOIZ. 


822 


12  POINT  PORSON  GREEK 

'E7retSi7  Se  Koi.i'fj  to  tojv  'ApKCtSott-  eOvo<i  e^et  two.  -rrapa  nao-i  toi?  "EX- 
Xrjo-iP  eV  dpeTT]  cfi-qfirjv,  ov  /jloi'ov  Slo.  tt]1'  eV  Tot<?  ry^efrt  Kal  /Bioi^  (j^Xo^evlav 
Kal  (fyikavO poiTviav ,  yiiaXtcrTa  8e  Sto,  717^  ei?  to  ^eiot-  evcre^euiv,  ci^tov  fipaxv 
BiaTToprjo-aL  Trepl  7179  KwaiOioiv  dypL6Tr]To<i.  71019  oVre9  opLokoyovpuivuiq  'Ap- 
/caSe?  TocrouTo  Kar'  iKeivov;  701)9  Kcupoix;  hiiqueyKav  to)V  dXkcov  'Ekkrjvojv 
wfxOTTjTL  Kal  Trapavopiia.  Sokovctl  he  pot,  Slotl  tu.  Kako)';  vtto  TOiv  dpxo.i(ov 
eTTivevoripeva  Kal  (ftvo-LKO)^  crvvTe6eojpr]p4va  nepl  TTdvTa<;  70U9  KaroLKovuTas 
rrjP  'ApKooiav,  ravra  oi)  irpioTOL  Kal  povni  ' ApKahiov  i-yKaTeknTOP.  povcrLK-qv 
yap,  TT]i'  y  dkr]6Q><i  povcrtK-qv.  Trdcn  pev  dvOpconuL^  o(/)e\o9  dcrKelv,  'ApKacri 
Se  Kal  dvayKalov.  ov  yap  r}yr]T€op  povcriKrp^  0)9  "Ecf)op6<;  (firjcrLV  eV  toj  Trpo- 
ot/xto)  TT]<s  0X179  TT  pay  pare  ta<i,  ovhapa)<;  dpp6l,ovTa  koyov  avTO)  pii//a9,  in' 
aTTaTT)  Kal  yorjTeia  TTapeLcrrixdaL  toI<;  dv6pcoTTOL<;.  ovSe  roijq  7raXatov9  KprjTwv 
Kal  AaKeSaLpovicop  avkop  Kal  pvdpov  ei9  top  irokepop  dpTi  a-dk7nyyo<;  eiKrj 
popLO-T€OP  eicrayayelp.  ovSe  701/9  TrpuiTOvq  'ApKaScop  ei9  717/'  0X17;^  TrokiTeiap 
TTjP  povcTLKriP  irapaka^elp  eVt  toctovtop  uxTTe  prj  popop  Traicrlp  ovctlp.  dkkd 
Kat  peaPLO-KOLq  y€Pop€POL<;  ew9  rpLaKOPT  eTcov  KaT  dpdyKrjp  (rvPTpo(f)OP  ■noielp 
avTTjP,  Takka  tol<;  ^Loa  6pTa<;  ava-TrfpoTaTov^.  TavTa  ydp  Trdcnp  ecTTi  ypoj- 
ptpa  Kal  o-vPTjOr),  oiotl  ctx^oop  irapd  p6poL<;  'ApKacrt  irpoiTOP  pep  oL  7rar8e9 
CK  P7]7rl(up  aoeip  edit,oPTaL  KaTa  vopov^  tov<;  vppov<;  Kal  TTatdpa*;,  019  €/<ao"7ot 
Kara  70.  TraTpia  tov<;  eTnxo^plovg  rjpoja'i  Kal  6eov<;  vppov<Ti  •  peTa  Se  TavTa 
701)9  f^iko^epov  Kal  TipoOeov  popovi  pap6dpoPTe<;  nokkfj  ({)LkoTLpia  xopevoixTL 
KaT  epiavTOP  7019  /S-iopva-iaKolq  avkrjTal<;  ev  toI<;  6edTpoi<;,  ot  pev  Tralhe^; 
TOU9  7ra(,8tKOt'9  dyo}pa<;,  01  8e  peapio-Kot  70U9  t(op  di'hpayp  keyopepov;.  6po'uo<^ 
ye  p-qi^  Kal  Trap'  okop  top  ^lop  Td<;  dycoyd'i  70.9  ep  7at9  o-ui^ouo"tat9  ou^  ovt(o<; 
TTOiovPTai  Ota  Ta)P  iireLcraKTiop  dKpoapaTcop  0)9  81'  avTiOP,  dpd  pepo^  dheLP 
dkkrfkoL<;  TTpoa-TdTTOPTe<i.  Kal  tcop  pep  dkkcop  paOrjpaTWP  dppiqOrjpai  7t  prj 
yiPwcTKeip  ovoep  alo-xpov  rjyovPTai,  Trjp  ye  prjp  coorjp  ovt  dpprjdrjpat  h{)papTaL 
Old  TO  KaT  dpdyK7]P  7TdpTa<;  papddpeip,  ov6'  opokoyovPTe<i  dTTOTpi^ecrOaL 
8ia  70  T(jjp  alcrxpdiP  Trap'  avTol<;  poplt,e(Tdai  tovto.  Kal  prjp  ep^aT^qpta  peT 
avkov  Kal  7a^€aj9  da-KovPTe<;,   eTL  o'  6pxiqa-eL<;  eKTTopovPTe<;  peTd  kolptj';  eVt- 

It7v,'  point  t.'.nlr.h 

ABrAEZH0IKAMNHOIlPXTTOX^^n 

a/3y8e[,7]0LKkpp^oTTpa-<;TV(l)X^M 
aaaaaaaaaaaaaaaaeeeeeeee€7]iqiqiqiqiqrjr)r)r)Tqr]rjr]rj7]rjr)rjLLLULtLLLULLOoooooooo 

VVVVVVVVVVVVVVOJCOOJCOOJOJCOCOCOCOCDCOiOOJCOCOppf 

Aune^eZi^i^ 


Matrix  Information  .   IJAl/'?-  Lower  case  alphaliet.   14,?  puiiits.   Kuns  ni  90  channel  niasa 


Code  w..rd.  /IHAH. 


823 


8  POINT  GREEK  METROLITE 


nAriQZII  TOY  AOrMATOI  TOY  MONRO 

Ka6'  oAriv  ctx^Sov  rriv  5idpKeiav  toG  'E|a- 
4)uXiou  rioXeiJOu  al  KpaxoOaai  TOt^EiS  ^rj^ 
'AyyXia<;  5kv  dtTTEKpuiljav  xd^  irpo^  to  e-rravaa- 
^a^r\\^ivov  ZdouG  auiuiraGela^  tcov.  Oi  pev 
Topei^  eGeobpouv  xpv  eTraydaxaaiv  xcov  Noxitov 
rioXixeicbv  cos  iepdv  dycoua  xoO  dpiaxoKpaxiKou 
i5£ob5ou5  Kaxd  xris  iaoxre5wxiKr|s  xrieCTew^  xris 
UTTO  xojv  FidvKriScov  eKTrpoacoxrou|j£vr|S  6r)M0- 
Kpaxla^  Kai  iaoxrixos.  Ei^  Se  xd  opuaxa  xwv 
Ouiyojv  Kai  xcov  0iAeXeu0epcov  oi  OTroioi  rjaav 
£15  xr|v  dpxnv  \^E  TTpcoSuTTOupyov  xov  X6p5oy 
ndX[j£paToov,  x6  xtopicrxiKOv  Klvrina  xoO  ZdouG 
EvEctsayijExo  w^  EiaxrveoMCvov  utto  xr|$  iSsas 
xoO  £0yia|JoO  Koi  auveiroj^  cos  dC'o^  i^nS  utto- 
CTxripi^Ecos  |j£  xd  'IxaXiKov  Pijopykimevxo. 
'"  'AvE^apxnxcos  xr|5  uttep  r\  Kaxd  xfis  6ou- 
XeIos  yvobiaris  pas  Kai  xcov  dxTEvavxi  xoO  ZdouG 
ouiarraGEicov  r\  dvxixraGEicov  jaas,"  £5nXcoaEV 
6  Eiri  XCOV  OiKovopiKcov  uTxoupyos  rXdSaxcov 
(7  '0Kxco6piou  1862)  "  Sev  hpttopoumev  vd 
dpvriGco[j£v  6x1  6  T3Ect)£pacov  NxaiSis  Kai 
01    dXXoi    riyExai    xoO    ZdouG    i&r\yiioupYr[aav 

(solid  J 


nAriQZIZ  TOY  AOrMATOZ  TOY  MONRO 

KaG'  6Xr)v  qxeSov  xqv  SidpKEiav  xoO  'Ep- 
ct)uXiou  rioXEfjou  ai  KpaxoOaai  xd^Ei^  xns 
'AyyXias  Sev  drrEKpuiljav  xd^  Trpos  xd  Exravaa- 
xaxrine^ov  ZdouG  auntraGEias  xcov.  01  (jev 
TopEis  eBecopouv  xriv  Exravdaxaaiv  xcov  Noxlcov 
rioXixEicov  cos  lEpdv  dycova  xou  dpiaxoKpaxiKoO 
iSecoSous  Kaxd  xns  iaoTreScoxiKris  ixiEaEcos  xf)s 
uTTO  xcov  FidvKriScov  £KTTpoacoTTOU|aEvr|S  6r|MO- 
Kpaxias  Kai  iaoxrixos.  Eis  Se  xd  onMCtTa  xcov 
Outycov  Kai  xcov  OiXeXeuGepcov  oi  ottoToi  naav 
EiS  xriv  dpxnv  HE  xrpcoGuxroupydv  xov  X6p5ov 
ndX|j£pCTxcov,  x6  xcopiaxiKov  Kivrina  xou  ZdouG 
EVEcJjavijExo  cos  EM'n'VEoiJEvov  uxro  xns  iSsas 
Tou  EGviajioO  Kai  quvettcos  ws  d^iov  i'aris  utto- 
axrjpiCEcos  (JE  x6  'IxaXiKOv  Pi3opyKiM£vxo. 
"  'AvE^apxrjTcos  xfis  uxrsp  f\  Kaxd  xf|S  5ou- 
XEias  yvco|jr|s  (JOtS  xai  xcov  dxrEvavxi  xou  ZdouG 
ou|jTTaG£icov  r\  dvxiTraGEicov  nas,"  ESrjXcoaEv 
6   £Tri   xcov  OiKovoiJiKcov  uxroupyos   FXdSaxcov 

(one  foint  leaded) 


nAnnziz  toy  aofmatoz  toy  monpo 

KaG'  oXriv  axESdv  xriv  SidpKEiav  xou  'EntJjuXiou  (IoXemou  ai  KpaxoOaai  xd^Eis  xns  Ay- 
yXias  Sev  dxr£Kpui|jav  xds  Trpos  x6  ExravaaxaxriMevov  ZdouG  au|jxraG£ias  xcov.  01  (jev  TopEis 
eGecopouv  xr)v  Exravdaxaaiv  xcov  Noxicov  floXixEicov  cos  l^pdv  dycova  xou  dpiaxoKpaxiKoO 
i5eco5ous  KQxd  xns  laoxrEScoxiKris  ttieqecos  xf|s  uixd  xcov  fidvKriScov  £KTTpoacoTrou[j£vns  6r|MO- 
Kpaxias  Koi  iaoxrixos.  Eis  Se  xd  OMpaxa  xcov  OuTycov  Kai  xcov  cjjiXeXeuGepcov  ol  ottoToi  paav 
EIS  xqv  dpxnv  |_i£  TxpcoGuTroupydv  xov  XopSov  ndX|j£paxcov,  x6  xwpiO'xiKov  KivriMot  xou  ZdouG 
EVEctsavijExo  cos  EMTT^EOMEvov  UTTO  xf|s  iSsas  xou  EGviapoO  Kai  auvETTcos  <^'i  d^iov  Tans  Otto- 
axnpi^Ecos  M£  x6  'IxaXiKov  Ri3opyKip£vxo.  " 'AvE^apxnxcos  xns  uttep  r\  Kaxd  xrjs  SouXsias 
yvcoMnS  M^S  Koi  xcov  dxTEvavxi  xoO  ZdouG  aunxraGEicov  i^  dvxiTraGEicov  net?/"  sSnXcoaEv  6  ettI 
xcov  OiKovoniKcov  uTTOupyos  rXdSaxcov  (7  'OKTco6piou  1862)  "  5ev  niaTropoOnEv  vd  dpvnGcoMEv 
6x1  6  TjEcJjEpacov  Nxai6is  Kai  oi  dXXoi  nyExai  xoO  ZdouG  ESnM'oi^PYncav  axpaxov,  Kaxa- 
aKEudjouv  axoXov  koi,  xd  arrouSaioxEpov  6Xcov,  sSnu'oupynaav  Eva  eGvos  ".  Eis  Eviaxuaiv  xns 
iSeoXoyiKns  auxins  aunxraGEias  npxovxo  wo6apcoxaxoi  au|j4)EpovxoXoyiKoi  Xoyoi,  SeSojjevou 
6x1  6  UTTO  xou  crxoXou  xns  BopEiou  ZuiarroXixEias  drroKXEiajJOS  xcov  Noxicov  ttoXixeicov  ia- 
xapdxnaE    evxeXcos    xnv    E^aycoynv    xoO    6d(j6aKos    Kai    rrpoEKdXsaE    o^uxdxnv    Kpiaiv    eis    xnv 

I  two  foi„t  leaded) 

ABfAEH  I  KAMNEOn  PZTYO 
GDZtjjcpVuRXHJUSQWFCOLG 

a6y5E3n6i'<XiJvoTTpaxsucj5xco 

aP>q:""i"  {E,"\"' a" tr\'^  •.""u[\jr\(jj 


ddddd    £££ 
ddad^    £?; 


iilit-t    66666    nnnnrin    OuOuOO    cococococl) 
i'lmit    666 'e    ninn)'!'^    u*uJuu    cococLcocL 

13570,.AHncr:3'7 

24689'" 

tt§[] 


This  list  of  characters  as  shown  is  a  newjpaper  or  periodical  arrangement.  For  classical  work  the  characters  can  he  supplied 
in   indei)endent   form    (one-letter)   according  to  the  Porsoti  Greek  arrangement. 

Matrix  Injormation :  8A510.  Lower  case  alphabet,  103  points.  Figures.  .0692.  Runs  in  90  channel  magazine.  Code  word.  ZIHPA. 


824 


GREEK  No.  1 


SIX    POINT 
ABrAKZIlHlKAMNHllOl'Ii'l'T'l'.X'l'Si 

dadd    I     7/     66 

Matrix  Injormution  :  bl\Ai.  Lower  case 
alphabet.  90  ptiints.  Runs  in  9f)  diaiiiiei 
magazine.  Code  word.  ZIMJK. 


Matrix  hilar  motion  :  1()A106.  Lower  case 
alphabet.  128  points.  Figures.  .0742. 
Kinis  iti  90  channel  niaga/iiie.  ("ode 
word.  i.lSU. 


auaaa 

fifamfj 


TEN    POINT 

ABr  APJUIKAMMOI/I'lTYiJ 
ODZohT,  I  •  rRX  'J' I '  SQ  \VF(  '<1>L(; 

£££    ilili-t   odoob    >iij>j>j>iii   vbo'dvi'   dx'ixooio) 
E? ;    UTil'u    boo' e    ijiifjjiji'j    v*vJvv    oWixhoxn 

i357o.,Aij<K^^   -i--n§i] 

2408!/' 


GREEK  No.  3 


SIX    POINT 

ABr  AEHIKAMN30  n  PSTTQ 
eUZoiwVi'HX'I'USUWl'C.'tLC. 

tip^"  e"  ( St "  ~tj " f  T] "  :  «»i)\;if|(V) 
ddddd     £€k     itlil-t     6o66S     r'lfirirififi     vvi'vvi^     tiKooimm 
fiticidfi     E?;     I  intit     ooo'c     ?ir)»i)Vifi     i)*v.Kni'     tooKocow 

13570, .AHn«7^>,         -I  — 1§[] 

24689" 


Matrix  Injormation :  6A174.  Lower 
points.  Figures.  .0556.  Runs  in  90 
Code  word.  ZLMLO. 


case    aliihabet.    94 
.bannel    niaga/ine. 


EIGHT    POINT 

ABrAEHIKAMXE:01IPi:TTQ 
©DZoMoViiHX^USQWFOM.C. 

u6Yf)fl;T)9ixA.nv()jtyaTgi'<(  yto 

afi(jt"r'  (  5i"  '  i?"f'!l'  :«»i'i|'fio) 

ddufidt    iti    I'ull-t    66666'    V|i|t'iTififi    iiuiiOfu'    o'xbwcow 

uuddf)    E?;    ilifut    ooo'e    i"|i|ii>ilTi    ii*ijJ6u    d)0)4)0Ja) 

24(i89" 


Matrix  hiloriiiation  :  XA1^0.  Lower  ca 
Figures.  .059,).  Huns  in  90  chaiuiel 
LOUC. 


alphabet.    Ill    points, 
gazine.    ("ode    word. 


TEN    POINT 

ABFAEHIKAMNHO 11 P2TTQ 
eDZ(pa)ViiRX¥USQWFC<DT.G 

apa  e  ( 5 1,    a  et]    :  «»vn[»Tia) 
adddd  eee    [Uil-t  66660  V]T)>|f)rif]   itivuiiuu  oacDoxofb 
ddddi'i   g?;    i'!iuit  600 'f    ri5))i)i')f|    it*i'Jui)   (joojdxixl) 

13570, .AHQ<T^>, 

24689"' 


-tt§l 


Matrix  Injurmotioii      10A126.   Lower  case  alphabet.    125  iioints.    Figures.   .0742.    Runs  in   90  channel   magazine.   Code 
word.  LOUT. 

TWELVE    POINT 

ABEAEHIKAMNSOnPSTTQ 
enZoKoVi.RXWLISQWFCOLG 

a6Y88^T]9ixX|.iVOJi()OTgDcpya) 

apa  8  (^i     a  ET]    :«»i)\i^Tj(i) 

daddd  set-   iiiii-t  60666  lyHnplfif)  tjiviH'iDi'  (ooxofod) 

ddddf]  8?;   il'iilu  666 '8  r]T)i'|)i'|f]  {)*iUint  (ooKodxi) 

13570,.AHQq?^>,    -— tl§[] 

24689" 


Matrix 
l.(.i\  V, 


hilormatioH     I2A7(>.  Lower  lase  .il|ihabet.   144  points.   F'igures.  .0S9.   U\nis  in  00  channel  magazine.  Code  word. 


825 


GREEK  No.  2 


NINE    POINT 

ABrAEHIKAMNSO  n  PSTYQ 
0DZ())(J)VuRXiI^USQWFG«I>LG 

a^a^^e"  (£,t""qf"e7i'  :(imi\irj& 
aaaaa    ess    ccui-t    60600    ■'l''l^''l^''l    uuuuuu    cowwwci) 
aiaar,    s'?;    r!i;t!tt    ooo'e    'ilTiTi)7)'ri    ij*l)Juu    ojuxjjwd) 

13570,.AHQq;i)>,      _[_fj§[] 

24689" 

Matrix  Information:  9A36.  Lower  case  alphabet.  115  points.  Figures.  .0667.  Runs  in  90  channel  magazine.  Code  word. 
LOOB. 

TEN    POINT 

ABrAEHIKAMNSO  nPSTTQ 
0DZw«VuRX^USQWFG$LG 

occiixii   £££    (tut-i    66660   TiriTirifiT)   uu'juij'j   (ocowww 
aaaaf]   e?;   'ifi'iui   ooo'e   ririri)riri   u*ijJuu   wcowww 

13570,AHQq^>,     -I— tl§[] 
24689" 

Matrix  Information:  10A76.  Lower  case  alphabet.  120  points.  Figures.  .0742.  Runs  in  90  channel  magazine.  Code  word, 
LOQE. 

TWELVE   POINT 

ABrAEHIKAMNSOnPSTTQ 
eDZwaiVuRX¥USQWFC$LG 

o.a.b.k6.  tit   uui-'i  ooooo  Tjv^YjT^YiYi  uuuuuu  cowwwo) 
aoLaafj  tf;   tkutt  ooo  e  ■^l^'*! ) IQ"'!  u  ujuu  wcocowco 

13570,.AHQs-^>,    -— 1$§[] 

24689" 

Matrix  Information:  12AS0.  Lower  case  alphabet.  142  points.  Figures.  .089.  Runs  in  90  channel  magazine.  Code  word. 
LORL 


826 


GREEK  ELZEVIR 


aaaaa 
adaart 


NINE    POINT 

ABFAEHIKAMNEOnPITYQ 
0DZ'a)vVjRX'I^USQWFC<I>LG 

Hi     lliil-l     00660     /jjrjirjy'jFj/l     UU'jiiOu     (i'JjCJ'J^J) 

£'? ;    'iTi'irii    ooo'c    r'iYifi)rir\    u*uJiju    (jcStodjcI) 


Mtitri.r  Inloi 
ZIMMU. 


i357o,.AHQcr;5,>^     -I— ttH] 
24689" 

matioti:  9A50.  Lower  tase  .[liilialuM .  110  points.  Figures,  .(lGfi7.  Kiiiis  in  VII  ihaniiel  n: 
ELEVEN   POINT 

ABFAEHIKAMNEOnPlTYQ 
GDZvvVoRX^PUSQWFCOLG 

a6ybzCyiOiKXiivcT\poTCv<px^ 
apa  £  (a     a  tv)    :«»u\);/ju 

aaaaa    iki   luii-i   60660    /i/j/jvi/)/)   uuuuOO    (jugjuu 
cfaaafj    £?;    iTuiii   666'e   yj/i/|)/)/i   u*uju0   ojugjucL 

i367o,.AHQcr^>,     -I— t:i:^[] 


Malri.r  Inlor 
ZIMNA. 


24 


68( 


IIAM,  Lo 


se  alpliahet.  1J6  paints.   Fi^'ur 


GREEK  BOLD  FACE  No.  1 


NINE    POINT 

^%BrAEHiiiiV:%i]^aoiir»x'rvs4 

aiiidl    see    tlctt-t    o*»o«»o   •^•ijvjvj'ij^    'j\>\>\>ij^    uxbcoioo) 

iS.9Ly.-fi   £?;    tJttttt    ooVj 'E    ^>i''i)vi^   'o*\>.J''i\)    c6cbo>d>to 

ISKTO^-AIiSaC?:^,       -— 1+§[] 


Matrix  Information  :  9A-^S.  Lower  case  alplialiel.  151  points.   Figure' 
LITY, 

TEN    POINT 


.Ll.lS.  Ktins  in  911  .liai 


i%orAEMii^i%^]M:%fSoni»i:Ti[»si 

diaioL   eee   tUtc-t   ooo<io   'i^vj^'i^'^^   •6t>\>\>u\>   cocococotS 

ot^rz-afj    £?;    iZ'itl'it   VAYu's.   ^vjyj)'ifj>^    'j*u»J'J'0    oicocococo 

132iTO,..>H«C;vi7,     — n§|| 


.Wafri,r 
Lli:i) 


Infunnatiu 


H1A7«-  L. 


ase  all»hahet.  165  points,   FiKtires,  ,14S.l.  Klnis 


827 


GREEK  DISPLAY  FACES 


f,  i'..iiit  I '.reek  Rnyal  GntliR 

ABrAEZHeiKAMNEOnP£TY<t>XM'n     1234567890,.-  - 

Matrix  Injormation  :  6A-9.  I  aps.  figures  and  points  unly.  Figures.  .077.  Runs  m  34  cliannel  au.xiliary  magazine.  7  point  align- 


ent.  C.de  u.ird.  ZIMUF. 


8  Point  Creek  Knyal  Gothic 

ABrZ\EZHeiKAIVINZOnPZTYcDXM'n    1234567890,.-- 

Matiix  IiiUiniiutioii     .SA49.  Caps,  figures  and  points  only.  Figures.  .091.  Runs  m  .H  channel  au.viliary  inaga/me.  9  point  align- 
ment. C.ide  \vi>rd.  ZIMUL. 

6  Point  Creek  Gothic  No.  29A  with  Gothic  No.  30A 

ABrAEZHeiKAMNHOnPZTY*XVn     1234567890,.-  - 
ABraEZHOFKAMNZOnPITY^XVn      1234567890,.-  - 

Matrix  Information:  6A210.  Caps,  figures  and  points  only.  Figure  1.  .0346;  2  to  0.  ,0553.  Runs  in  ,14  channel  auxiliary  maga- 
zine. Code  word,  LOIR. 

6  Point  Greek  Gothic  No.  29  with  Gothic  No.  30 

ABrAEZHGIKAMNEOnPZTYcDXVQ     1234567890..-- 
ABrAEZH01KAMNHOnPITY<t>Xf  Q    1234567890..-  - 

Matrix  Information  :  6A204.  Caps,  figures  and  points  only.  Figure  1.  .0415;  2  to  0.  .0692.  Runs  in  ,i4  channel  auxiliary  maga- 
zine. (_"ode  word.  LOEX. 

10  Point  Greek  Gothic  No.  .!  with  11   I'oint  Greek  Gothic  <  ondensed  No.  1 

ABrAEZHeiKAMNEOnPZTY(DX¥Q   1 234567890,.-  - 

ABrAEZHeiKAMNEOnPITY(DX¥Q  1234567890,.-- 

Matrix  Information  :  10A102.  Caps,  figures  and  points  only.  Figures.  .083.  Runs  m  34  channel  auxiliary  magazine.  Code  word, 
LOAP. 

14  Point  Creek  Gothic  Condetised  No.  1 

ABrAEZHeiKAIVINZOnPITY(DX¥Q  1234567890,.-- 

Matrix  Inforniatian  :  14A-^.  <- aps.  figures  and  points  only.   Figures.  .0968.  Runs  in  34  channel  auxiliary  magazine.  Code  word, 
ZIMUV. 

12  Point  Greek  Bold  Face  No.  1 

ABrz\EZH0IKAMNSOnPSTY$XTil  1234567890,.  - 

Matrix  Infonnation :  12A25.  Caps,  figures  and  points  only.  Figures,  .112.  Runs  in  34  channel  auxiliary  magazine.  Code  word, 
ZIMU.S. 

18  Point  Greek  Gothic  No.  14 

HBriEZHBMNIOnPnyililCI'!!  1234567890,,- 

Matrix  Information  :  1HA4.^-  (  aiis.  figures  and  iioints  only.    Figures.   .083.    Runs  in  34  channel  auxiliary  magazine.  Code  word, 
LOBO. 


28  Point  Greek  liMthu  .No.   14 


Matrix  Information  :  28A1-   Caps,   figures  ,ind  points  cmlv.   F'lgnres.  .O'lnK.    Runs  in  34  ch.iiin 
LOCU. 


auxiliary  magazine.  Code  word. 


42   I'-Mnf  f^r^rk  Hnthic  No.   14 


IIB[J[ZHliEO[IPITyiffl  123456/ 

Matrix  hiiormation  :  4JA1-   Caps.   tiKures  and  points  only.    Pigures.   .154.   Runs  in  34  channel  auxiliary  magazine.  Casts  on  36 
pfiint  body.  Code  word.  LODY. 


LIST   OF    CHARACTERS    AVAILABLE    IN    GREEK    DISPLAY   CAP    FONTS 
ABFAEZHeiK  AMN=0nP£TY(t>X4'n    1 234567890,. — 


828 


GREEK  DISPLAY  FACES-Coniinucd 


IX  I'diiit  Creek  Krl.^ir  LikI.I  (  (niileiised 


ABrAEZHOIKAMNIOnPITYWQ  1234567890,.- 

Matrix  Inl„r,ii<il,.ni  :  lXA4li5.  (  aps.  hKuitb  anil  puinlb  only.   Iikums.  jnuH.   kun-,  mi  .M  .liannt-l  auxihaij    niaKa/iiie.  Cixle  word, 
ZII-()J. 

24  Point  Greek  Eriiar  Liflit  (  c.iidensed 

ABrAEZHGIKAMNIOnPITYOTQ  1234567890,.-  - 

Matrix  hijormatiun:  24A.'5y.  ('aps.  tisures  and  points  only.   FiKiires.  .1107.  Kinis  in  .14  cliainiel  .inxiliarv  inaKa/ni.     I  ode  word 
ZIFOP. 


28  Point  Clreek  l^rl.ar  I.ikIU  (  ondensed 


ABrAEZHGIKAMNZOnPITYWQ  1234567890 

Matrix  Injormation:  28A25.  Caps.  fiKures  and  points  otdy.  Figures.  .1107.  Huns  in  .!4  channel  auxiliary  nuiKa.-nie    (ode  word, 
ZIFI'I. 


34  Point  Greek  Krhar  Light  ( Undensed 


ABFAEZHOIKAMNZOnPITYWTO  123456 

Matrix  Injormatum  :  34A17.  Caps,  figures  and  points  only.  Figures,  .1245.  Huns  in  Wide  .14  channel  auxiliary  iiiaua/me;  also 
ill  M  channel  auxiliary  niat;a/ine.  except  X.  Code  word,  ZIFRO. 


42  Point  Greek  F>har  Light  Condensed 


ABrAEZHGIKAMZOniYOTQ  12 

Matrix  Informatiaii :  42A5.5.  Caps,  hgures  and  points  only.    Figure  I,  Alih;  2  to  1),  .lv.i7.    Kuns  m  Wide  .14  cii.iiinel  auxiliary 
magazine;  also  in  34  channel  auxiliary  magazine,  except  X.  Casts  on  Mi  point  body.  Code  word,  ZIFIW. 


30  p,,int  Greek  Goihic  Condensed  N, 


ABrHEZHBIKAMNZOnPnYm0 1234567890 

Matrix  Intormatiott     3UAj.   Calls,   figures  and  points  only.    Fmures.   .112.    Kuns  in  34  channel   ,iu\iliary  niaga/ine.    I  oite  word. 
ZIMVO. 


24  Point  (ireek  r'heltenhnni  Condensed 


ABrAEZHeiKAMNEOnPITYOX^Q  1 2345678 

Matrix  Intorrnatiini :  24A5s.  Caps,  figures  and  fioints  only,   F^igures.  .1107.  Kuns  in  34  channel  auxiliary  magazine.  Code  word. 
l.IXl 


18  I'oint  Greek  (  lieltenhain  Hold  Condensed 


ABrAEZHeiKAMNS0nPZTY4»XH'£J  1234567890,-  - 

Matnx  hHurmatiun  :  ISAS'J.  Caps,  figures  and  points  only.   Figures.  .110.    Kiins  in  .14  cli.innel  .uixiliary  luaga/ine.   Code  word. 
LIZO. 

ABrAEZHeiKASOnPLTYOX^ii  12 

Matrix  /iifoniuithiii     24A2"7-   Cajis.  figures  .mil  points  only.   Figure  1.  .1245:  2  to  0.  .I.s22.   Runs  in  Wide  34  ihaniiel  .luxiliary 
magazine.  22  point  alignment.  Code  word.  ZIMV'A. 

.10  Point  Greek  Caption 

ABFAEZHBIKAMNHOnPnYiDXVfi  1234567890,.-- 

Matri.i    h,l„, malum     M)A>.   Caps,   liguies  .iiid   points  only.    Figures.   .112.    Runs  in   .M  ili.uiiiel  ..iimIi,ii>    iii.iK.i/iiie.   1  ode   word. 
LI  WE. 


829 


29             43              42              37              47              196             280            253            211            217              68              69             413            71               70 

( 

9 

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1 

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( 

1 

44 

7 

40 

13 
36 

19             25             31             37             43             49             55             61             67             73             79             85 

26             74            256            255           254           212           218            137            138            275           140            139 

T 

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y8 

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spici           sric! 

iNia 

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32 

14 

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20 

26             32             38 

30              58              172             261 

44 

50             56             62             68             74             80             86 

262           213           219             51              52             279            55              54 

a 

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21             27             33             39 

34             91             171             88 

45             51             57             63             69             75             81             87 

257           214           220            104           105            1B5           107            108 

0 

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4 

0 

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6 

6 

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10              16             22             28             34             40             46             52             58             64             70             76             82             88 

33             35              27             46            405           174            178            179           215           199             84            154            153           122 

85 

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11              17             23             29             35             41             47             53             59             65             71             77             83 

31             45              41              38            409            173             87            263           216           258            120           121            208           123 

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6              12              18             24            30             36             42             48             54             60             66             72             78             84 

90 

KEYBOARD  DIAGRAM  No.  171— For  classical  composition  using  Person  Greek  one-letter  matrices.  The  number 
over  the  keybutton  is  the  character  number.  That  under  keybutton  indicates  the  magazine  channel  in  which  the 
character  is  to  run. 


E 

<2 

a 

47 

X 

202 

6 

43 

(. 

106 

0 

52 

a 

86 

i 

121 

Tl 

13s 

U 

164 

W 

5 

E 

£ 

174 

195 

fl 

26 

P 

260 

" 

111 

0 

69 

a 

176 

I 

127 

•n 

263 

* 

160 

'" 

197 

V 

18  pi    215 

iOO  I  C   I   21« 


5 
6 

2 

301 

B 
D 

032      9  36 

"ill" 
2  8 

"Fl 

66  I  a  I 


a 

211 
212 

1 

5 

P 

46 
48 

f 

27 
203 

1 

a 

30  I   '^    I   104      0  51  1   t>    I     84 

180  I    "     I    110        0  58  I    dt    I     91 

26  32  3S 


> 

120 

»! 

137 

0 

163 

to 

19 

T 

213 

3 

12 

M 

220 

0 

I 

126 

■n 

143 

" 

159 

,u 

21 

* 

214 

!> 

23 

T 

219 

9 

0 

5S 

53 

a 
a 

'111" 


56 

62 

161 

68 

74 

80 

86 

T) 

146 

U 

tu 

, 

A 

17 

P 

217 

7 

3 

r 

^ 

140 

u 

156 

tu 

8 

e 

302 

F 

218 

8 

6 

z 

s 

21 

27 

33 

39 

45 

51 

57 

63 

69 

75 

8 

1 

87 

<o 

34 

X 

172 

, 

106 

6 

54 

a 

87 

t 

122 

h 

139 

0 

165 

w 

15 

0 

4 

A 

24 

Q 

10 

K 

a) 

181 

179 

109 

0 

57 

a 

90 

I 

125 

in 

142 

U 

276 

V 

306 

Q 

196 

tf> 

303 

C 

307 

R 

:0 

10  16  22  28  34 

[jji::[^,::[^ir5[[|r,[y,:;[j 

5  11  17  23 

37        V    I     31  I    T)    I      40  I    1^    I    108  I    5    I 

'"LJ"' 111 '"111  "111 


40 

46 

52 

58 

146 

64 

70 

76 

82 

88 

60 

a 

94 

I 

129 

h 

i 

162 

CO 

9 

I 

11 

A 

20 

r 

14 

E 

209 

■n 

93 

! 

130 

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147 

U 

163 

CO 

160 

" 

22 

.\ 

305 

I, 

308 

S 

29 

35 

41 

47 

53 

59 

65 

124 

71 

77 

7 

63 

89 

256 

la 

256 

II 

254 

nil 

98 

t 

253 

151 

(1 

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13 

N 

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16 

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irut 

Via 

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— 

258 

267 

272 

99 

I 

97 

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304 

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262 

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309 

LI 

310 

V 

311 

w 

KEYBOARD  DIAGRAM  No.  54— For  newspaper  and  jobbing  composition,  using  Greek  two-letter  matrices.  The 
numbers  at  left  of  keybutton  are  the  character  numbers.  That  under  the  keybutton  indicates  the  magazine  channel 
in  which  the  double-character  is  to  run. 


830 


GERMAN  No.  3 

WITH 

BOLD  FACE  No.  2 


AND 


GERMAN  No.  4  with 
BOLD  FACE   No.  4 


>^s«S^^^S#^^ 


I 


LINOTYPE 


MERGENTHALER  LINOTYPE  COMPANY,   BROOKLYN,  N.  Y, 

NEW   YORK  CITY,   CHICAGO,   SAN    FRANCISCO,    NEW  ORLEANS    •    CANADIAN 
LINOTYPE,    LIMITED,   TORONTO.   Representatives  in  the  Principal  Cities  of  the  World 


COMPARISON     OF     POINT     SIZES 


6  Point  German  No.  3  with  Bold  Face  No.  2  {6A18)  Lower  case  alphabet.  90  points.  Figures,  .052 

aBie  ift  eitu'  Scfirift  in  Beaug  auf  ifircn  aftfietifdjcn  Gnfiuurf  oBjufrfiatcn?  JBarum  finb  bie  <Pfabfinbcr  in  bet  1234 
SStc  ift  cine  ©rtitift  in  ficjug  nuf  ifircn  aftljctififien  e-nfiunrf  ofisufdioftcn?  SSariim  fmb  bit  ^fobfinbct  in  ber  1234 

8  Point  German  No.  3  with  Bold  Face  No.  2  {8A20)  Lower  case  alphabet.  105  points.  Figures.  .0665 

SBic  ift  cine  ©cf)rtft  in  tegutj  auf  i[)ren  iiftctifdien  Gntluurf  ab5ufd)a^en?  SBarum  finb  bie  1234 
28tc  ift  cine  Stf)rift  in  tcjug  ouf  tl)ren  (iftctif(I)en  gntjuutf  objufrfiii^cn?  SBorunt  ftnb  btc  1234 

9  Point  German  No.  3  with  Bold  Face  No.  2  (9A10)  Lower  case  alphabet,  113  points.  Figures,  .074 

SBic  ift  einc  ©d)rift  in  I'Cjug  auf  xl)xcn  dft^etifd^cn  GntlLnirf  ab5ufdid^cu?  SBaruni  finb  1234 
28ic  ift  ctnc  Si^rift  in  bcjug  anf  i^rcn  fifttjctifc^cn  (gntniurf  nbsufdjiitjen?  SBnrnm  finb  1234 

10  Point  German  No.  3  with  Bold  Face  No.  2  (10A38)  Lower  case  alphabet,  119  points.  Figures,  .074 

2Ste  ift  cine  (Sd)rift  in  bcsug  auf  ilircn  nfttietifdicn  dntmurf  objufdni^scn?  SBarum  1234 
28ic  ift  cine  ©d)rift  in  Bcjuf?  auf  ifjrcn  ciftljctifdjen  6nt)uurf  afijufdjcifeen?  SSarum  1234 

11  Point  German  No.  3  with  Bold  Face  No.  2  (11A24)  Lower  case  alphabet,  125  points.  Figures,  .0815 

9Bie  t[t  cine  Sc^rift  in  bc^uq  anf  iljren  ciftfjetifd^cn  (SntUnirf  ab3nfcI)dl3enV  SBaru  1234 
W\c  ift  cine  (2rf)rift  in  6c5U(j  auf  ifjrcn  aftl)etifd)en  ©utJuurf  abjufdjofecu?  W^ani  1234 

12  Point  German  No.  3  with  Bold  Face  No.  2  (12A164)  Lower  case  alphabet.  136  points.  Figures.  .089 

2.Bic  ift  eine  ©c^rift  in  besug  auf  iliren  dftf]ctifd)en  ©ntlDurf  ab3ufd)dl3en  1234 
2Bic  ift  cine  Sc^rift  in  bcjug  auf  i^reu  oft^ctifrfien  ©ntniurf  abjuft^abeu  1234 

14  Point  German  No.  4  with  Bold  Face  No.  4  (14An8)  Lower  case  alphabet,  182  points.  Figures.  .0968 

IPic  ift  cine  Sd^rift  in  bc5ug  auf  il^rcn  dftl7ctifd7cn  (Bntvo  \25^ 
U>ic  ift  cine  Sdfv^i  In  ha^uQ  auf  i^rcn  aft^cHf(^cn  €niw  \25l 

18  Point  German  Bold  Face  No.  3  (18AH)5)  Lower  case  alphabet.  186  points.  Figures,  .1107 

Eit  ift  eine  S^tift  in  bejug  auf  i^ten  rifi^etif  t^en  6 1234 

18  Point  Heading  Text  (18A67>  Lower  case  alphabet.  199  points.  Figures,  .1107 

Pie  ip  eine  Sdjrif  t  in  beju9  anf  iljren  a|ll)etiftl)en  ^  1234 


pS^S^S^StfS^^^T'ADC  LINDTYPE"'^'^'^^^'^^*^^^*^*^*^^^*^*^*^^^*^^^*^*^*^*"^^^^^^*^^^*^^^*'^^*^*^^^ 


CHARACTERS     INCLUDED     IN     FONT 

aricbefgf)iifImnopqrf§tut)lDj^5 
c6cbcfg^tjfImno:pqrf§tut)tt)ji)3 

1234567890  VsV^YsVz^s^Vs 

1234567890  y8y4%y2%%y8 

,.:;?!()*„"'— It,  []d)cfftflffirfiffftfei?$di3ii 
,.:;?!()*,/"  =  — ft  []c^«ffif(ffllfiffft^^$aiiu 


POINT 


GERMAN    No.    3   with    BOLD    FACE    No.    2 


aSic  ift  cine  Scftrift  in  bejug  oitf  itircn  (ifti'tifdjcn  CEntmurf  afMufcfiiiton?  ilBarum  finb  bic  ^fnbfinber  in  bcr  'Sucti-- 
bnu-fcitunlt  ulHT  fine  befonbeie  Sctjrift  cntjiictt?  aSa^  feljon  fie  in  ber(ell)cn?  aBariiiii  ift  fie  fo  iilieiniis  nngencbm 
in  iftrcn  SlugenV  tSin  outer  UntUnirf  ift  innnor  ein  prnttifiter  Cliitlinirf.  Unb  bcvj,  Hki;;  fie  in  cineni  gnten  Sri)rift> 
entluurf  etblicfen,  ift,  teilhieife,  bie  praflifcfte  Sluecfnuifiiafeit  ciner  Sctrift  i()re  Slnfnntie  lofen  m  Tunnen.  Sic  Ijat 
ben  erforberlidjen  Stil  unb  ba-i  erforbetUdje  (Sleidjai'lindjt  in  altcn  Xcilcn  fiir  il)re  Wrofic,  nevnbe  fo  Uiie  ein  gnte-;' 
aBert.^eug.  Ein  enter  Sluijl  ftat  lUIe  feine  Jeile  in  ber  ridjtigen  Wrbfic,  nin  gclnil)renb  bcni  .;5luecf  ^u  bicnen,  m 
lueldjcm  er  Ijeftiniiiit  ift  —  biefe  Seile  finb  nid)t  ju  bid,  and)  finb  fie  tiid)t  iibcrauy  fein  iinb  fcfcluad)  —  er  lueift 
teinc  Scrfc^lDcnbung  bon  a'Jaterial  unb  quc6  feinen  aiiangel  Don  gtcirte  auf.  Unb  ouf3erbcin,  ber  Stubl  tnng  bon 
cinem  3JiiJbeItifd)ler  gcmacfet  fein,  ber  in  bcnfetbcn  feinen  beften  Sinn  bon  fcineii  Soniicn,  .Rurben  unb  l<rot)or> 
lioncn  gclegt  bot  —  er  mag  felbft  ein  liunftlverf  fein.  Siirtfelbc  gilt  quc6  fiir  ed)riftforincn.  Unb  ein  Stubl,  obcr 
and)  cine  Stfiriflart  (ioenn  ein  rid)tiger  fiiinftler  fie  crfd)affen  but),  h)irb  nnfjer  gutem  ?lusfe()cn  nncJ)  bic  3H)ed= 
mufjiflfeit  baben,  bafj  man  fid)  barauf  fe(,u'n  faun,  ober  bafi  bie  gcbrift  aufy  *;5npicr  gebroitt  unb  gelefen  Inerben 
fonn.  Sie§  erriiirt  teillBeife  luarum  bie  enrfibcrftanbigen  iibcr  bie  feinen  gornicn  ber  Sudjftnben  fo  cntjiidt  finb, 
mndjt  c5  abcr  [eineAlxiegS  flar,  init  Ineldier  ;)iitrffid)t  hiefelben  fein  finb.  SSenn  mnn  beftrebt  ift,  liefer  in  bicfen  «c= 
genftnnb  eiujubringen,  finbet  nuiu,  bnf;  Jheorien  alleine  baruuf  eine  Vlnlluort  geben  fonncn.  ijier  ift  eine  Sbeorie, 
ajic  ift  cine  edirtft  in  bcjng  nnf  ilircn  iiftctifriicn  (fntlmirf  nOjufriinlic"''  SUnrnm  finb  bic  'l^fabfinbcr  in  ber  !Pnrti= 
brniterriinft  Ubrr  cine  bcfonbcrc  Sriirtft  cnljiirfl?  ajay  fclicn  fie  in  berfclbcn?  iasnrnm  ift  fic  fo  iilicrnn>j  nnncnrlim 
in  il)rcn  'Jlugcn?  Cfin  giitcr  (fnllunrf  ift  immcr  ein  proftifrticr  Cfnlluurf.  Unb  bnci,  uin':i  fie  in  cinrm  a'ltcn  =rtirif|. 
cnthintf  crblidcn,  ift,  tciducifc,  bic  prottifrtic  3>ucrtniiifiiBteit  cincr  Sditift  ilirc  ^.Unfflnbc  liifcn  ,yi  fiinncn.  Sic  bnt 
ben  crforbcrlirticn  Stil  nnb  ba-i  ctforbctlirtic  Oileirtigcluirtit  in  oUcn  Jcilcii  fiir  tlirc  Wriiffc,  gcrnbc  fo  luie  ein  giitcv 
aBcrtjcug.  Gin  gnler  SInOI  lint  nUc  fcinc  Xcitc  in  ber  rlriitigcn  Oiriiffc,  nm  gcbitlircnb  bcni  .^tuccf  ^u  biencn,  ;,u 

(ttro  point  1,-adcdl 

Matrix  Information  6A1S.  I.ength  of  Itivver  case  alpliabet.  9U  pi)ints.  Figures,  .052;  c>>imiia.  periml  am!  Ilnii  spate.  .028; 
tigure  space.  .052.  Will  run  in  90  channel  layout.  Code  Word,  ZAVUP. 

Ssic  ift  cine  ©djiift  in  bciuc\  nuf  ilircn  ciftclifdjcn  lintlimrf  ab^ufdiatjcnV  ilBaLuni  finb  bic  ^-Pfab^ 
finbcr  in  ber  S3ud)bi-urferfunft  iibcr  cine  tiefonbcre  Sdjrift  cnt^iirft?  1Qa§  fcficn  fie  in  bcrfelben? 
SBorum  ift  fie  fo  iibcrau^  angcner^tn  in  il)ren  Stucjcn?  (inn  gutcr  Gntluurf  ift  inuncr  ein  praftifdier 
©ntlinirf.  Unb  baS,  tnaS  fie  in  cinem  Qutcn  ©djriftentluurf  crblicfen,  ift,  tcilrDcife,  bic  praftifdic  point 
3lriednidf5i£3teit  ciner  (5d)rift  if)rc  2tufijabc  lijfcn  ^u  fiinnen.  Sic  Ijat  ben  crforbcriid)cn  Stil  nnb 
baS  erforberiidje  ©Icidjgctnidit  in  nllcn  S;ei[cn  fiir  if)re  GJriifjc,  gerabc  fo  Inic  ein  gntc»  SBertj^eng. 
E'in  guter  ©tu[)I  tjat  oHc  fcinc  Sciic  in  ber  ridjtigen  ©riif^c,  um  gcbiibrenb  bem  3tucct  gu  bicnen, 
311  lueldjcjn  er  beftimmt  ift  —  biefc  Seifc  finb  nid)t  3U  bid,  and)  finb  fie  nid)t  iiberauS  fein  unb 
fd)luad)  —  er  lueift  feiiie  ^crfd)ir)cnbung  Don  X'lnteriai  unb  niid)  feinen  iDiangei  Lion  ©tdrte  auf. 
Unb  auf3erbem  ber  Stu()l  uiag  Oon  cinem  S'Ji3DcItifd)[er  gemad)t  fein,  ber  in  benfelben  feinen 
beften  ©inn  Hon  feinen  gormen,  .flurUen  unb  '^sroportioncn  gclegt  [)at  —  crmag  felbft  ein  ,ftunft= 
luerf  fein.  S^aSfcIbc  gilt  aud)  fiir  Sd)riftformen.  Unb  ein  Stubt,  ober  and)  cine  ©d)riftart  doenu 
SBic  ift  cine  £rf)rift  in  fecjitn  ouf  ilircu  iiftctifdjcn  Gittniurf  nb,utfrf)nljcu'?  SSaruiu  finb  bic  *4^fnb  = 
finbcr  in  ber  5ynri)brurfcrtuuft  iibcr  cine  bcfonbcre  (2d)rift  cntyirft?  '•JBai  fclicn  fic  in  berfclbcn? 
liBSnrnin  ift  ftc  fo  iibcrnU'S  nnncnctini  in  iliren  ^InncnV  Kin  nutcr  (iittiunrf  ift  imincr  ein  f rntfifrlicr 
(Sntwnrf.  Unb  bn-f-,  wod  ftc  in  cinem  nntcn  Sriiriftentiunrf  crblirfcn,  ift,  tcihucifc,  bic  prntttirtie 
3>uc(fni(ifnBtcit  cincr  Sdjrift  ilire  2lnfflobc  liifcn  .yi  fonncn.  Sic  lint  ben  crforbcrliriicn  2ttl  unb 
boS  crforbcrliriic  (yicid)()cu>iri)f  in  alien  Seilcn  fiir  ihrc  Olriifjc,  ncnibc  fo  luie  ein  gntcsS  ilBcrt^eufl. 

(ttuo  point  Ircided ) 
CHARACTERS     INCLUDED     IN     FONT 

2i^^(jS)(jg03.s>,^,S5a>;5fO^;sQ3ieT:uiy^:y,i"i')3& 

abcbefgbiiflmnopqrfvtiiOtorl)^ 

n6cbefgl)ijtlmnopiU"fvtuoiutil,5 
12345G7890       Vs  %  %  M;  %  %  Ys 
1 2345G7890       Vs  H  % !  2  ^s  H  % 

, .  :  ;  ?  I  (  )  *  „  "  '  =  —  lb  [  ]  d)  d  n  fl  ff  n  fi  if  ft  f5  i'  $  S  0  i: 

,.:;?!{)*„'"  =  —  ft  [  1  di  rf  fi  f(  ff  II  fi  ff  ft  ft  1?  $  <i  ij  w 

Matrix  Injormatum  :  8A30.  Length  of  lower  case  alphabet.  lOS  points.  Fmures.  .0665;  cumina.  pt-i  iod  an<i  thin  space.  .0.132; 
figure  space,   .0665.    Will  run   in  90  channel   laymit.   Code   word.    ZAVVI. 


8 


833 


GERMAN    No.    3   with    BOLD    FACE    No.    2 


r^v#s*s^.#N#vr^#s#s^s^^v*.*s#s#-*s^.r.*v^.^^.#s#.#s#s#s#s#s#s^s^.#s^.#v#s#s#s^.#>#s^.#v^.#s*s*s^.^.^.^s#s#s#s#sr.*s*s*s*s*s*s#s#N#s^,#s#S#^^ 


POINT 


2Bte  ift  cine  ©djrift  in  begug  auf  t[)rcn  dftfietifc^en  Snttourf  abgufd^a^en?  SBarum  finb  Me 
g  '^fabfinber  in  bet  'Sudjbrudcrfuuit  iibcr  cine  bcfonbcrc  ®c[)ttft  cnt^iicft?  3Sa§  fc^eu  fie  in 
bcrfelben?  SBaruiu  ift  fie  fo  iifaerauS  angencljm  in  il)rcn  ?(ut3en?  ©in  guter  Snttourf  ift 
immer  ein  praftifdjet  ©ntluurf.  llnb  ba^$,  tva§  fie  in  einem  gnten  ©djriftentlDUtf  erbliden, 
ift,  teitoeife,  bie  praftifc^e  3lotdmdf5igfeit  einer  ©djrift  i^re  Slufgabe  lofen  3U  lonnen.  ©ie 
ijat  ben  erforberlidien  ©til  unb  baS  erforberlidie  ©leic^geluidjt  in  aCen  Sl^eilen  fiir  i^re 
©ri.if5e,  gcrabc  fo  luic  cin  guteg  SBerfgeug.  Sin  guter  ©tuljl  ijat  alle  feine  Seile  in  ber  rid)ti= 
gen  ®rof5c,  um  ge6u[)renb  beni  ^tvcd  gu  bienen,  5U  tuetdiem  er  beftimmt  ift  —  biefe  S^cile 
finb  nidit  gu  bid,  and)  finb  fie  nic^t  iiberauS  fein  unb  fc^toad^  —  er  lueift  feine  SSerfc^loenbung 
oon  3J?atcrint  unb  aud)  fcincn  3JiangcI  Uon  ©tcirfc  auf.  Unb  auf5crbem,  ber  ©tul^I  mag  Don 
cineiu  iDioIjeltifdjIer  gentadjt  fein,  ber  in  benfelben  fcinen  beften  ©inn  Don  feinen  gormen, 
^VurUen  unb  5proportionen  gelegt  t)at- —  er  mag  felbft  ein  illinftloerf  fein.  SaSfcIbc  gilt  aud) 
fur  ©diriftformen.  llnb  ein  ©tuljl,  obcr  aui^  eine  ©d;riftart  (toenn  ein  rid)tiger  iliinftler  fie 
erfdjaffen  fiat) ,  luirb  auf^er  gutem  SluSfe^en  aud)  bie  3ft'edmaf3igfcit  ^aben,  bafj  man  fid) 
barauf  fe^jen  fanu,  obcr  bafj  bie  ©dirift  aufg  5)Japicr  gebradjt  unb  getefen  luerben  fann.  S)ie§ 
erfldrt  teitoeife  marum  bie  ©adjOerftdnbigen  iiber  bie  feinen  gornten  ber  !Sud)fta&en  fo  ent* 
gudt  finb,  mad;t  e§  aber  feineSloegS  flar,  mit  toelc^er  SRiidfic^t  biefelben  fein  finb.  SBenn  man 
beftrcbt  ift,  ticfer  in  biefen  ©egenftanb  eingubringen,  finbct  man,  baf5  SCl^eorien  aKeine  ba^ 
rauf  cine  ?Intiuort  gebcu  fonncn.  ^ict  ift  eine  £J)eorie  Don  lueld}er  ber  ICerfaffer  glaubt,  baf^ 
fie  ©inn  E)at:  geine  ©djriftjeidien  luaren  in  erfter  ©telle  5lopien  Don  fein  gefdjriebenen 
^Bud)ftaben.  gcin  gefdjriebene  53uc^ftaben  tnaren  fein,  loeit  fie  auf  bem  birefteften  unb  ein= 
fad)ften  SBege  mit  einem  SBerfgeug  in  ben  §dnben  eine§  2)Janne§  ergeugt  tnurben,  ber  in 
feincm  ©ebraud)  gefd]idt  Inar^ — eineS  3Jianne'5,  ber  luirflid)  ein  itiinftler  luar  (b.^.,  ein 
?ifann  begabt,  um  gefunbe  llrteite  gu  fallen  itber  fiinien,  5?urDen,  ^^roportionen,  u.f.io.). 
SBenn  bie  23ud)bruderfunft  erfunben  murbe,  arbeitetc  ber  ^iinftler  jener  geit,  ber  bie  fein 
aSte  ift  ciiic  £rf)rtft  in  bc^ug  nuf  t^rcii  iiftljcttfdjeu  (Sntlmtrf  abjufd^filjen?  9Borum  finb  bie 
*l>fnbfinbcr  in  ber  2^itcl)bnirfcrhtuft  iibcr  cine  befoubcrc  Sdjrift  cnt^itrft?  SSa^i  fcftcu  fie  in 
bcrfclbcu?  iKanim  ift  fie  fo  itbcrauS  nngcncl)m  in  ifjren  SUtgcn?  Gin  gntcr  Gutujurf  ift 
immer  ctn  prntttfrfjcr  Gntwurf.  Unb  bn'5,  ttinS  fie  in  ctitcm  guten  (SdjriftcnthJitrf  crbltdcn, 
ift,  tcthuctfc,  bie  Jjraftifdjc  3wedi"ii^i9fcit  finer  Shrift  ifjrc  9htfgnbc  (ijfcn  311  fiiuncn.  Sic 
bnt  ben  crforbcrlirfjcn  Stil  unb  btt'i  erforbcrltdje  ©(ctrf)gctt)id)t  in  alien  Xctlcn  fitr  iljre 
(yviifjc,  gcrnbc  fo  wtc  cin  gutC'5  SBcrfjcug.  Gin  guter  StuJjl  I)at  nUc  fciuc  Xeilc  in  ber  rtcfjti= 
gen  ©riifje,  um  gebiiljrenb  bem  3wed  3«  bicucn,  3"  wcld)em  er  bcfttmmt  ift  ^ — biefe  2:etle 
finb  nirf)t  3u  bid,  nud)  finb  fie  ntd)t  itb^rnu§  fein  unb  fd)tund)  —  cr  tuetft  feine  2?crfd)tt)cnbung 
Don  3JJaterial  unb  aud)  tciucu  JJcangcI  Don  Stiirtc  nuf.  Unb  aujjerbcm,  ber  3tul)l  mog  Don 

(two  point  leaded) 


CHARACTERS     INCLUDED     IN     FONT 

sr23e®vSg©j&^stsa'J3fO^:p£i3t©s:us82Ba;g)3& 

9lS36^G3@A5St29Jl9JD*PD5H®3:U»a[S.l§)3& 

abcbefgl^ijtrmnopqrfytuLitDjt)3 

abcbcfgl)ijflmno}jqrf§tuDtt)jlj3 

1234567890       Vs  1/4  %  V2  %  Y-i  % 

1234567890       i/gi4%H^%% 

,.:;?!()  *„"•.  — tb  [  ]  c^dfiflffEfiffftf5^$aoii 

,.:;?!()*„"'=_»[  1  d)rffif(ffaftfffttl?$abii 

Matrix  Information  :  9A10.    Length  of  lower  case  alphabet.   113  points.    Figures.   .074;  comma,   period  and  thin   space,   .037; 
figure  space,   .074.   Will  run  in  90  channel  layout.   Code  word,   ZAVYA. 


GERMAN     No.    3    with    BOLD    FACE    No.    2 


3Sic  ift  cine  Sd)i-ift  in  bcjua  aiif  ibrcn  nftl)ctiid)en  CJiitUnirf  abjiiirfjat^LMt?  SSanim  [mb 
bic  '!|.sfQbiiiiL)L'i-  in  bcu  '^iid)bi-udorfiiiiit  iibcr  cine  bclonberc  Sd)rift  LMitjiidtV  ilUig  jel)iMi  ]0 
fie  ill  beufelbeu?  Sffiarum  [\t  fie  fo  uberaiis  nitoeiicbm  in  ilireu  ^Jluaeit?  (Sin  fliiter  (iiit-  point 
luurf  ift  iiniiter  ciii  praftifdjer  (iiitluurf.  Hub  bno,  iuas  fie  in  eineni  gnten  Sdjrifteiitunirf 
erbliden,  ift,  teillueife,  bic  praftifdjc  .^li^t-'duiafjigfcit  eincr  ®d]i-ift  il)re  ^^hifgabe  lofcn  an 
fbiinen.  6ic  bat  ben  crforberIid)cn  Stit  nnb  bas>  crforbcrltdje  (Slcid^geluidjt  in  atlcn  Xei= 
ten  fiir  il)rc  ©rbfje,  gerabe  fo  tuie  ein  guteo  SBerfjeng.  (Jin  gutcr  Stut)!  I)Qt  aUc  feine 
■Jeile  in  bcr  ridjtigcn  @rof3e,  urn  gcbitbrenb  bem  i^ii)ed  3u  bienen,  3u  U)eld)em  cr  beftiunnt 
ift  —  biefe  S^eile  finb  uid)t  ju  bid,  and)  fiub  fie  nidjt  iibcrnns  feiit  nnb  fdjnjad)-  -  or  lueift 
feine  Serfd)tt)enbung  bon  3,ltaterial  nnb  and]  feinen  2'tangel  Don  (Stiirfe  anf.  Unb  anfjer^ 
beni,  ber  otuL^I  nmg  Don  eineni  SJuibeltifdjIec  geniad)t  fcin,  ber  in  benfelbcn  feinen  beften 
Sinn  'Don  feinen  gormen,  ^'urUen  nnb  ^ro^jortionen  gelegt  [)Qt  —  er  mag  felbft  ein 
^'iinfttoerf  fcin.  ©asfelbe  gilt  and)  fiir  tod]i-iftformen.  llnb  ein  (3tul)l,  obcr  and)  cine 
©d)riftart  (luenn  ein  rid)tiger  Sl'unftlei  fie  erfdjaffen  Ijat),  ttiirb  anf^cu  gntem  Stusfeljen 
and)  bie  ^tocdnidfjigfcit  I)aben,  baf3  man  fid)  baranf  fefjcn  fanii,  obcr  bafj  bie  ©djrift  anf^ 
papier  gebrad)t  nnb  gclcfen  merben  fann.  Sies  erfldrt  tcilmeife  marum  bie  ©ad)Derftdn= 
bigcn  itbcr  bie  feinen  gormen  ber  23nd)ftaben  fo  entjiidt  finb,  mad)t  es  aber  feinc§iueg:§ 
flar,  mit  lt)eld)er  9}itdfid)t  biefclben  fein  finb.  SBenn  man  beftrebt  ift,  ttcfer  in  biefen  (Se= 
genftanb  einsubringen,  finbet  man,  baf]  S^beorien  allcinc  baranf  etne  i'lntmort  gebcn 
fbniten.  i^icr  ift  eine  Xtjcorie,  Don  tDeId)er  ber  35crfaffer  glanbt,  baf^  fie  ©inn  ()at:  geinc 
©d)rift3cid)en  maren  in  crfter  ©telle  ^opien  Don  fein  gefd)riebcnen  23ud)ftabeii.  gein  oe= 
fc^riebene  23nd)ftaben  maren  fein,  meil  fie  auf  bem  bircftcften  unb  einfad)ften  2iU'ge  mit 
einem  SSerf^eng  in  ben  .Sjdnbcn  cine§  9Jtanne§  erscugt  murben,  ber  in  feinem  ©ebrandi 
W\c  ift  cine  Sd)rift  in  bcsiin  fluf  itircn  aftlictifdjcu  Gutluiirf  nb^ufdidtjcu?  2Bnntm  fiitb 
bic  ^^.^fabfiiibcr  in  bcr  ^PudjbnirfcrfHiift  iibcr  cine  bcfoiibcrc  Sd)rift  eutaiirft?  SBnei  fcljcii 
fie  ill  bcrfclbcu?  Synruni  ift  fie  fo  iibcraitv  augencljm  iu  i()reu  ^higcn?  (^iii  gitter  (5iit» 
ItJjtrf  ift  immer  ein  ^raftifdicr  (^iitiuurf.  Hub  bo^,  ion^i  fie  iu  eincm  guten  Sd)rifteiitluurf 
crOIiden,  ift,  teillueife,  bie  Vrnfti|ri)c  ^Jucdmaftigfcit  eincr  Sd)rift  il)re  9lnfgabc  (ofen  3U 
fiinnen.  Sic  l)at  ben  crforbcrlid)en  Stil  unb  bo^  crforbcrlidjc  01eid)geluiri)t  iu  nllcu  2^ei= 
leu  fiir  ifire  ©riifjc,  gerabe  fo  tiiie  ciu  gutc§  SSerfjeug.  Gin  gutcr  Stuf)I  l)at  iiKc  feine 
2;eilc  in  ber  ridjtigcu  (iJro^e,  unt  ge6iif)rcub  bem  3h)f  ^  5"  bienen,  ^n  Jucld)em  cr  beftimnit 
ift  —  biefe  Jcite  fiub  nidjt  ju  bid,  nuc^  finb  ftc  nidjt  iibcrnn?'  fcin  nnb  fdHuad)  —  er  lucift 

(two  point  leaded) 
CHARACTERS     INCLUDED     IN     FONT 

5r23G2)iv5@.s):C^f?caifi);o^:pQ9i©2:u2]2B.ig)3& 

abcbefg[)iiflninopqrf§tnDmri)3 

aIJcbcfgf)ijfImuo|)qri>5tub)ujl)3 

1 2345G78<J0      Vs  Vi  %  V2  %  %  Vs 

12345G7890      Vs  V,  %  ¥2  %  %  % 

,.:;?!()*„'"  =  —  fo  []  d)  d  fi  fl  f!  n  fi  ff  ft  15 15  $  d  b  it 

,.:;?!()*„"'  =  —  ft  f  ]  d)  d  fi  f(  ff  «  fi  ff  ft  fj  U  !i<  n  0  '• 

Matrix  Inforttiation :   lOA-^^^     I.eriKth   of  lower   case  alphabet.    119  points     FiKures.    .074;  comtin.    period    and   thin   spn«-e.     0,^7; 
figure   space.    .074.    Will    run   in   90  channel    layout.    Tode   word.    ZAVZE. 


835 


POINT 


I  GERMAN    No.   3  with   BOLD    FACE    No.   2 


2Bie  ift  eine  ©d^rift  in  be5ug  auf  iljrcn  dftl)etifc^en  (SntiDurf  oBjujd^d^en?  SBarum 
1 1  [tnb  bic  -^sfabfinber  in  ber  23urf)brucferfun[t  iiber  eine  befonbere  ©(f)rift  entjiicft?  2So§ 
jefjen  fie  in  berfelbcn  ?  3Barum  ift  fie  fo  iiberau'c  angene()in  in  il)ren  2lugen  ?  Gin  guter 
Gntluurf  ift  imnier  ein  praftifd)er  (Sntn^urf.  llnb  ha^i,  n^aS  fie  in  eineni  gutcn  ©i^rift= 
entrourf  ciblicfen,  ift,  teillueife,  bie  .praftif(^e  Sli^ecfindfjigfeit  einer  ©djrift  i()re  2luf= 
gabe  Ii3fen  gu  fdnnen.  ©ie  I)at  ben  erforberlic^en  ©til  unb  ba§>  erforberlid^e  ®Ieicf)ge= 
mic^t  in  alien  'Jcilen  fiir  il)re  ©rbfje,  gerabe  fo  Inie  ein  gute§  SBerfjcug.  (Sin  guter 
©tul)!  l)at  alle  feine  S^cile  in  ber  ric^tigen  ©riifee,  um  gebiil)renb  bem  i^Wcd  5U  bienen, 
3U  li)cld}em  er  beftimmt  ift  —  biefe  Seile  finb  nidf)t  ju  bicf,  and)  finb  fie  nic^t  itberanS 
f ein  unb  f(^lDad^  —  ec  toeift  feine  3ierfd^lnenbung  Con  2)?aterial  unb  and)  feinen  Tlan-- 
fein,  ber  in  benfelben  feinen  beften  ©inn  ban  feinen  g-ormen,  burden  unb  ^ropor= 
gel  t)Dn  ©tdrfe  auf.  Unb  au^erbem,  ber  ©tutjt  mag  Don  einem  DJiiDbeltifc^Ier  geniad)t 
tionen  gclegt  I)at  —  er  mag  felbft  ein  ^unftlnerf  fein.  S)a§felbe  gilt  audi  fiir  ©(^rift= 
formen.  Unb  ein  ©tul)l,  ober  auc^  eine  ©(^riftart  (menu  ein  rii^tiger  ^'iinftler  fie 
erfd^affen  fiat),  mirb  auf3er  gutem  SIu§feI)en  and)  bie  3lT3edmdf;igfeit  I)aben,  baf3  man 
fid)  barauf  feinen  faun,  ober  bafj  bie  ©c^rift  auf^  papier  gebrac^t  unb  gelefen  merben 
fonn.  ®ie§  erfldrt  teilmeife  marum  bie  ©ac^berftdnbigen  iiber  bie  feinen  ^^ormen  ber 
Sud^ftaben  fo  entjiidt  finb,  mad)t  e§  aber  feine^megS  flar,  mit  melcfier  Otiidfic^t  bie= 
fclben  fein  finb.  9Benn  nmn  beftrcbt  ift,  tiefer  in  biefen  ©egenftanb  einjubringen, 
fiubct  nmn,  baf3  Sljcorien  alleine  barauf  eine  3(ntmort  geben  fijnncn.  ^ier  ift  eine 
2Bic  ift  cine  Sri)rift  in  bcjug  oitf  iljrcn  aftl)cttfd)cn  ©ntwiirf  ab5itfd)a^cn?  SBanim 
finb  bic  ^fabfinbcr  in  ber  5Biirf)brurferfunft  iificr  cine  bcfonbcrc  Srfjrift  cntsittft?  2Bo§ 
fcfjen  fie  in  bcrfelfien?  SBarnnt  ift  fie  fo  iiberany  augeneljnt  in  i()ren  3(uflcu?  (5in  fluter 
Kntiuurf  ift  immcr  ciu  Vrflftifdier  Gutiuurf.  \h\'t>  ba^v  lua^  fie  in  einem  gutcn  (5rf)rift= 
eutJunrf  cr&Iirfen,  ift,  tcihucife,  bic  Vroftifdic  3>i'cdtttaf|igfeit  einer  Stfjrift  il)rc  3tuf= 
grtbc  lofen  5n  fbnnen.  Sic  Ijat  ben  crforbcrIitf)cn  Stil  unb  ta^  crforbcrlirf)c  (^leirfjgc^ 
Uiirfjt  in  alien  Xetlen  fiir  t^rc  (^rijj^c,  gerabe  fo  ivic  ein  guteS  SBcrfjcug.  (Sin  guter 
Stutjl  fiat  alte  feine  Xeilc  in  ber  rirfjtigcn  ©rii^c,  um  gcbitljrcnb  bem  ^\\>cd  ju  bienen, 

(twu  point  leaded) 
CHARACTERS     INCLUDED     IN     FONT 

9(1^(55)  (v5(S)i^^s.«X!ai(i1c^D^;^C3i©IU^l^ilV%';i)3& 

3l35e^6-5e54^3ii2«{':){OiiDJ){eXU5l^a^a:^^3tt 

abcbefgI)ijfInmo|3qrf§tuomj;^3 

a6cbcfgIjijfImnoVqrf§tuinujt)5 

12345G7890    VsW-/sV2%''A% 

1234567890  i/g  V^  %  Vi  Vs  %  % 

,.:;?!()*„"•=  — lb  [JdidfiflffUfiff  ftH$aou 

,.:;?!()*,/''  =  — lb  []rf)cf  ft  f(ffirfiffft§fe$aoii 

Matrix  Information:  nA24.  Length  of  lower  case  alphabet.  125  points.   Figures.  .0815;  comma,  period  and  thin  space.  .0407; 
figure  space.  .0815.  Will  run  in  90  channel  layout.  Code  word,  ZAYAB. 


836 


GERMAN     No.    3    with    BOLD    FACE    No.    2 


r^^*^^**^*^^-^-*-^^-*--^    ^K    ^-^^-^ 


(two  paint  leaded) 


CHARACTERS     INCLUDED     IN     FONT 

1234567800      yMW/2%^AV^ 

1234507890      V^V^%V2Vs%Vs 

,.:;?!()*„"•  =  —  It.  r  ]  d)cffifIrtIliilf[tf,t^$aou 

Matrix  InUmiialU'ii  .    \2A\l\A.    l.tuKth  i>l   Ic.upr  case  alphabet.    I.!',  poiiils.    I'murcs.   .089;  comma,   period  atul  thin   space.   .0445; 
liKlire  space.   .08').    Will   run   in  '<()  chatni.-l   la.v.,ut,    (  ...le   wonl.    Z.W.MI. 


POINT 


2Bic  ift  cine  Sdirift  in  bc^itn  aitf  if)ren  aftf)ctifd)cn  Gntluurf  a6,^uf(^dl^cn?  9Sa= 
nnii  fiiib  bic  ^^fabfinbcr  in  bcr  23ud)bviufcrfun[t  iibcr  cine  bcfoubcrc  ©(^rift  12 
cnt')itrft?  Sa§  fcf)cn  [ic  in  bcrfdlicn?  Sariini  i[t  [tc  fo  iUicrait§  an(]cncf)in  iit 
\{)ZQ\\  ?[itgcn?  (Sin  gutor  CSntluurf  ift  iiiiiiicr  ciii  pmftifdjcr  tSntunii-f.  Hub  Wi>, 
luag  [ic  in  eincni  gntcn  (2d)riftcntunirf  crblirfcn,  ift,  tcihucifc,  bie  :praftiid)c 
glfcrfnid^igfeit  cincr  <Sd)ri[t  if)ro  3(nfgnbe  Uifcn  ,^n  fiinncn.  (Sic  I)at  ben  crfor= 
bcrlid)cn  ©til  nnb  ba§  crfDrbcrIid)c  ('')[cid)gcuiid]t  in  nllcn  S^cilcn  fitr  i()rc 
(Mrofjc,  gcrabc  jo  inic  cin  gntco  "il'crfseng.  Gin  gntcr  Stnf)I  \)<x[  aUc  fcinc  ^^cilc 
in  bcr  rid)tigcn  C^a-iifjc,  nni  gcbiiljrcnb  bcni  ^ivicd  jn  bicncn,  gn  Uic(d)cni  cr  bc= 
[timmt  i[t  —  bicfc  3:ci(e  finb  nid)t  gn  bid,  and)  [inb  [ic  nid)t  itbcrau§  fcin  nnb 
fd)lnad)^ — cr  incift  fcinc  25crfd)liicnbnng  bon  9J?ateria(  nnb  and)  fcincn  3[)?angcl 
don  ©tdrfc  anf.  llnb  anf^crbcm,  bcr  (StnI)I  mag  lion  cincni  3}iobcItifd)Icr  gc= 
mad)t  fcin,  bcr  in  bcnfclbcn  fcincn  bcftcn  (Sinn  non  fcincn  ^-onncn,  S^nrlicn 
nnb  ^sroportioncn  gclegt  I)at  —  er  mag  fclbft  cin  SInnftlucrf  fcin.  ®a§fclbc 
gilt  ond)  fiir  Sd)riftformcn.  Unb  cin  Stnl)[,  obcr  anc^  cine  Sd)riftart  (mcnn 
ein  rid)tigcr  .'iinnftlcr  fie  crfd)affcn  I)at),  mirb  anfjer  gnicm  5(n§icf)cn  and)  bic 
3lncc!nidf]igfcit  babcn,  baf]  man  fict)  baranf  fcljcn  fann,  obcr  baf]  bic  Sd)rift 
anf'o  5)>apicr  gcbrad)t  nnb  gclcfcn  )ncrbcn  fann.  ^ico  crfldrt  tcihucifc  marnm 
2Bic  ift  cine  Srfjrift  in  ticjiig  auf  il)ren  aftf)ctifrf)cn  (Jutiuurf  ab^ufrijiiljcu?  2l^a= 
rum  fiiib  bic  '•^-^fabfiiibcr  in  bcr  23ud)brucfcrfunft  iibcr  cine  bcfoubcrc  Sf^rift 
cnt,',ucf't?  2Bny  fcf)cu  fie  in  bcrfclben?  Sl^arum  ift  fie  fo  iibcrauy  rtngcncl)ni  in 
il)rcn  5(ugcn?  din  (^utcr  dntluurf  ift  immcr  cin  praftifrfjcr  Cs*ntuiurf.  llnb  b(i§, 
may  fie  in  cincni  fluten  £rf)riftcntuiurf  crblirten,  ift,  tciluicife,  bic  ^raftifrijc 
^tuccfntiifngfeit  cincr  Srf)rift  il)rc  'Jlufgnbc  lijfcn  ^u  fiinncn.  ©ic  f)rtt  ben  crfor= 
bcrlirfjcn  ©til  unb  'ha?-  crforberlirfie  (^leirfjgcmitfjt  in  dMtw  Xeilcn  fiir  ifjrc 
©rii^e,  gercbe  fo  mic  ein  gutcv  UiJerfjeufl.  (Jin  fluter  ®tuT)I  \]ai  allc  fcinc  Xeile 


837 


GERMAN     No.  4    with    BOLD    FACE     No.  4 


14 

POINT 


IDic  ift  cine  5d7rtft  in  bc3ua  auf  il7rcn  dftl7ctifd]cn  (Enht^urf 
ab3ufdidfecn?  IDarum  fin5  6ic  Pfa6fin5er  in  bcv  3ud]6ru= 
cferfunft  iibcr  eine  befonbcrc  Sd^rift  ent5ilcf t?  Was  fcl^en  fie 
in  berfelben?  U^avum  ift  fie  fo  iibcraus  angenebm  in  ibren 
2lugen?  (£in  guter  (Entu^urf  ift  immer  ein  praf  tifd7er  (Ent- 
trurf.  Hub  bas,  was  fie  in  einem  guten  5d]riftentirurf  er= 
blicfen,  ift,  teiltreife,  bie  praftifd7e  gtr>ecfmd^igfeit  einer 
5d]vift  il7re  2Uifgabe  lofen  3U  f  onnen.  5ie  l7at  6en  evforberli^ 
d7en  5til  unb  bas  evfov^erIid7e  (SIeid7geu?id7t  in  alien  Ceilen 
fiir  il7re  (Srofe,  gera^e  fo  trie  ein  gutes  IPerf^eug.  (Sin  guter 
Stubl  l7at  alle  feine  Ceile  in  bcv  rid7tigen  (BroHje,  uni  gebiib= 
ren5  5ein  ^i^-^^cf  3U  ^ienen,  311  u?eld7em  er  beftimnxt  ift — ^5iefe 
Ceite  fin6  nid7t  3U  6icf,  aud7  finb  fie  nid7t  iiberaus  fein  un6 
fd7n^ad7  —  er  n?eift  feine  Derfd7u^en^ung  von  IlTaterial  un6 
aud7  feinen  21TangeI  r>on  Stdrfe  auf.  IXnb  auj5er6eni,  ber 
Stubl  uxag  von  einem  21I6beItifd7ler  gemad7t  fein,  ^er  in 
TOU  ift  cine  ^c^rtft  in  bc^u^  auf  i^rcn  aft^ciifc^cn  Ctthmtrf 
absttfc^at^ctt?  tParunt  fitt5  6ic  |>fa6fin5cr  in  ^cr  ^MC^5rtt* 
cfcrhtnft  iibcr  cine  bcfon^crc  ^c^rift  cntjiicf t?  Was  fc^cn  fie 
in  6crfclbcn?  H>arum  ift  fie  fd  iiberaus  an^ene^m  in  iljren 
5Iu(jen?  €m  ^uter  Cnh^urf  ift  immer  ein  |>ra0tifc^er  Cnt« 
tt>urf»  XXtx^  bas,  tt>as  fie  in  einem  anictx  ^c^riftentwurf  er* 


(ttvo  point  leaded) 


CHARACTERS     INCLUDED     IN     FONT 


abc6efgl7ijfInxnopqrf5tuPir>j'y3 
abc6efc|l?ijHmnojjqrf5tutJtt»yY5 

1(23^567890      VhVMV2%%V8 

t23456T89o  V8y4%y2y8y4y8 

,.:;?!()%/"  =  -Tt)[]d7cffifIffIIfiffft0t5$aoii 
,.:;?!  ()%/'%_lb[]  eft cTfiflffUfiffftfe^^a^u 

Matrix  Information:  14A118.  Length  of  lower  case  alphabet,  182  points.  Figures,  .0968;  comma,  period  and  thin  space,  .0484; 
figure  space.  .0968.  Will  run  in  90  channel  layout.  Code  word,  ZAYAN. 


838 


RUSSIAN  FACES 


FOR  TEXT  AND  DISPLAY 


LINOTYPE  and  A-P-L 


[£][£]I!10[9i51@[3[i]0[°1[£]Ii]Ih]0 

1  T  IJ  19  V;^  31  43  -*9  ^S'  «'  *^  73  79  af 

i  i  14  ^o  ^i  ji  3a  44  5-0  s-»  6i  »«  7-»  ao  a» 


J  9  IJ  il  if  jj  li  4S  51  S7  63^  i^S  IS  31  37 

37  &4  iii  'cr  go  aa  ?^  io  7»  e^  '  ae  ^^  n  £•» 

II]0§00Dfl§[l][o][Al0[m][K][M] 

4  10  lo  £^  ^8  34  ^o  46  52.  SB  6t  70  76  a.^  aS 

84  4a  53  41  i-7  SS-  g9  30  77  9'  W  4  '7  ?  ^' 

^5  11  1^  JJ  ^9  Jy  41  47  S3  5-3  65  71  77  ai  55 

45-  56  a9  44  99  /74  32  ITS'  78  loa  3  ^0  33  3  IZ 

6  iT^  la  24  Jo^  3«  4i  4a  54  go  ££  7^  7a  a4  ?0 

KEYBOARD  DIAGRAM  No.  30-A -Standard  Russian  Keyboard.  Number  over  Keybutton  is  char- 
acter number.  That  under  keybutton  indicates  the  magazine  channel  in  which  character  is  to  run. 


List  of  Characters 

• 

Linotype  Russian 

1 

A 

16 

n 

32 

lO 

48 

;i 

64 

bi 

81 

9 

97 

- 

83 

$ 

221 

i" 

2 

B 

17 

p 

33 

9i 

49 

M 

65 

b 

82 

0 

98 

* 

173 

/ 

222 

1 

3 

B 

18 

c 

34 

e 

50 

H 

66 

t 

87 

J 

99 

— 

162 

+ 

121 

A 

4 

r 

19 

T 

35 

V 

51 

0 

67 

3 

88 

, 

100 

. 

163 

X 

122 

B 

5 

n 

20 

y 

37 

a 

52 

n 

68 

K) 

89 

: 

101 

164 

= 

123 

E 

6 

E 

21 

0 

38 

6 

53 

P 

69 

H 

90 

» 

102 

1 

165 

=1= 

124 

I 

7 

>K 

22 

X 

39 

B 

54 

c 

70 

e 

91 

? 

103 

t 

166 

* 

125 

P 

8 

3 

23 

u 

40 

r 

55 

T 

71 

V 

92 

! 

104 

t 

212 

* 

* 

126 

C 

9 

M 

24 

4 

41 

A 

56 

V 

73 

1 

93 

( 

105 

§ 

113 

Yi 

127 

y 

36 

V\ 

25 

LU 

42 

e 

57 

* 

74 

2 

94 

) 

106 

H 

114 

r 

128 

<t> 

10 

I 

26 

m 

43 

>K 

58 

X 

75 

3 

95 

i 

107 

II 

115 

e 

129 

■b 

11 

K 

27 

-b 

44 

3 

59 

u 

76 

4 

96 

» 

108 

No 

116 

H 

12 

Jl 

28 

bl 

45 

M 

60 

H 

77 

5 

167 

" 

169 

[ 

117 

r 

13 

M 

29 

b 

72 

H 

61 

UJ 

78 

6 

168 

" 

170 

] 

118 

e 

14 

H 

30 

-b 

46 

i 

62 

lU 

79 

7 

174 

« 

112 

& 

119 

?k 

15 

0 

31 

3 

47 

K 

63 

-h 

80 

8 

175 

» 

161 

0/ 
/() 

120 

;r 

LIST   OF   CHARACTERS   AVAILABLE 

N 

TWO-LETTER    FONTS 

WITH 

ITALIC 

ABBrAE/K3HtiKJIMH0nPCTy<DXIlMIUmbIb9I0fl 

AEBr;iE}K3nuK.mHonpcTy<i>xn'{uiiiihiL3V)a 

n>i>ev 
n>wr 

a5Brjieac3iinKJiMHonpcTy(j)xuimmub3iofl     iT.te>- 
a6szde-M3iiUK.iMHoni)cmyifixViHiuWiUb3iosi     ioVoer 

1234567890$,.;:- 

1234567890$,.:;- 

"y  1 

()■ 
■  ■()• 

'"»« 

*t§[]'yo^'=+X  = 
*f§[]     ^+X  = 

=  J***&DLNS 

=       d-DLNS 

LIST 

OF 

CHARACTERS   AVAILABLE    IN 

TWO-LETTER 

FONTS    WITH    BOLD 

FACE 

ABBr;iE/K3nilhMMH0nPCTJ''IiXU'IIIimbIbaK)fl 
ABBrAE>K3MflK;iMH0nPCTy<l>XUHlUlHblb3K)a 

I'bliHV 

ittev 

aoBi'jieiKsiiiiK.iMHonpcTyitixu'jmmi.ibaioH     ii.-bev 
a6Br/ie)K3MHKJiMHonpcTy(t)xi;muiMbib3H)fi     I'-btev 

1234567890.1;,.::- 
1234567890$,.:;- 

•7  1 

•?; 

()•■ 

■'»« 

*t§[l 

M-f-X  = 
M5-l-X  = 

=  J***&nLNS 
=        &DLNS 

840 


Russian  Condensed  No.  2  with  Italic 

EIGHT   POINT 

A^.B^;'^E•/^{30ilK.)^MHO^I•CTJ'<^x^'lIlIlHI,lb^I()}I    iluhv 
ABBrjiE}K:iiiiiKiMHonr('Ty<Pxn'inim.hih^)ioH   n,mv 

a6Br,ieHv3iiiii;.i.MiioiipcTy(tixn'iuimi,ii.aK)H     ii.hev 

a(')i}2deM3UUKAMHonpcmjj0xifHiianh!i,.noii     ihihor 
1234567890$,.:  :-•■? !—       ()  •■-»«*•;•§[]  ■v„j^i+  x  =  JV 
123-1567890$,.: :-'>!— ...(  r '■»«*f§[l    A-+  x  = 

Matrix  Itifonitali.iii  ■  RA%.   LeiiRth  of  Iciwer  cast-  alphabet.   ]^')  pi.iiits.  (omnia,   pei  imiI  and  thin  space.   .0297;  figures.   .0593. 
Will  run  in  'III  .li.uinel  layuur.  Code  word.  0(  Rll. 

TEN    POINT 

ABBlVPiK3IIfllv.lMH0nPCTy<I>XU']mUtblb9I()fl     vbmv 

ABBrnEM'3nnK.MHonpcTy<i>xnHiiimhih^ioH   i^wv 

a6Br;ie-/K3HHK.iMHonpcTy(J)XH4iumbib3Wii     i'i>t>t»\' 

'(0ii.'dc.w3imh'jiMH0)ipeniii(Jj.ri(,HiuH^hih.ri(>f{      ihir.or 

1234507-S90.$,. ::-••?!--       ( )""»«*t§[]  %^A^+ X-=r/ 
1234567890$. .::--'^!~.  .  .{)''  "»«^f§f  j     .\:;4-x  = 

Matri-i  Intitnnntioti     lOAW".   I.enKlli  oi  lower  lase  alphabet.   1 7X  pnints.  {  i.innia.  pen.nl  and  thin  space.  .0.171;  figures.  .0742. 
Will  run  III  '«!  cliannel  lay.iut.  I  ode  word.  nCSU. 

TWELVE    POINT 

ABBr/iE;K3MfiiuiMHonpcTyoxuqiiimi>ib3ioa   ii^er 

ABBTJlEM3HtiKMH0IlPCTy<PXIlHmiHUh:)KIH    Il^WV 
a(3Br/],eiK3HiiK.iiMHonpCTy(|)xi4imii],bifc9ioH     ittHV 
a()(h'de.>H'3uviK.iMHonpcmy0xii,muW/bib9)OR.     iwher 

1234567890$,. : :-" ? !—       ( )  ••^>«*t§  []  % J^^  +  X  =1*** 

1234567890$,.: ;--'r.~.  .  .  ( )""     ''f§[J     M 

Matrix  Infuriimtioii  :   12AS-f.   Length   of   lower   cise  alphabet.   214  points,   ('omnia,    period    and   thin   sjiace.    .044=:   figures.    .080. 
Will  run  in  'M)  chauuel  layout.  Code  word.  ()(   T^'. 


Russian  No.  8  with  Italic 

SIX  POINT 
ABBr;tEyK.3IIllK.TIMHOnPCTy<I>XIi:HIUmMr>0IOH    nj-BOV 

ABBrji.Em3MnKjiMHonpcTy<j>xu.mumbihdioii   n^-hov 

a5Br;i;eJK3iiiiK:iMHonpcTy<t)xii,'iuimi.ih.3Hni     iiiiio^* 
aoe2deM;3uuKji,HHonpcmyifixn'ituinbib3i<ja    Ismer 

1234.567890$,. : ;-"?  !^       ( ) "  "»«*t.^ []  %Xa+  X  =:  V 
1234.56~S90$. .:;-"?!  ^...  ()"   "      *fil(  I     -M 

Mati'ir  hiinrwatinti     6A^'^.   Length  ot   lower  c.ise  alphabet.   1.^0  [loints.   (  rumna.  period  and  thin  space.   .0297;  figures,   ,044s 
Will  mil  111  'III  cli.iimel  layout,  (  o,le  word.  (IliRT, 


Russian  No.  1  with  Italic 

ELEVEN    POINT 

ABBrAE}K;:{iinKJiMii()iiPCTya)XU4iiiiui.ib3ioH   l'b'Be^^ 

ABBr/lE}R3Iimi\lMH()nPCTy0XUUmiULIb:jIOH     rB'B6\' 
aoBr^e/K:5iifiK.;iMHonpeTy(j)xi;4iiiui,bib9K)H     i'b'lie\' 
(i6<{<'dr,>ir.i/iiih\  t.\iH0)ipcmij(f).rn>iMi({ui}3UM     i^mor 

12340G78!)U$, .:;-"?!—        (  I"  "»«*v^  []  %M!+ X=-l  V 
1234n(;78!)i)$,.  ::-•'>!—...()••"     *  r^[  /     ,  \i' 

Mafrix  hiioimali.ni     I  I A44.   Length  ot  lower  cse  .ilpliabet.  2il,.i  points,   (  omnia,  period  and  tlini  space.  .0408;  figures.   .0816. 
Will  run  in  'Jo  cliaiiiiel  layout.  Code  word.  ()H.\E. 


<'"LINOTYPE— > 


841 


Russian  Condensed  No.  2  with  Antique  Black  No.  2 

EIGHT   POINT 

ABBrjIE5K3HflK.lMHOnPCTy'I>.\UMIIIUU>lI.9KIH     IIT.HY 
ABBrAE>K3MfiK/IIVIH0nPCTy4)XlJ,HlUll^blb3H)fl      l"b-beV 

a|■iB^,neH;3llilK.lMnollpcTyl^tx^^^lIJI^I,Il,.^K^fl     iwkHv 

a6Brflew3iiMK;iMHonpcTy(})xi4MUjmbib3K)a     ittev 
l->34r)ti7,s;)0$,.: ;-■■?!—        ()  ••••»«*!§[]  %J^2+ X  =**** 
1 234567890$,.. •;-'■?!—...()"  "»«*t§[]      N2+x  = 

Matrix  Information :  8A94.  Length  of  lower  case  alpha)jet.   155  ptjints.   Ciminia.  period  and  thin  space,   .0297;  figures.   .0593. 
Will  run  in  90  channel  layout.  Code  word.  OCf)K. 

TEN    POINT 

ABBr;iEE3IinK.iIMH0nPCTy«l)Xlt'IUIIHLII)BI0H     IIT>BT 
ABBrAE>H3M«K;ilVlH0nPCTy<DXUHlUlMblb3K)a     l"bt)GV 

a6Br,ievK3niiK.iMHoii})CTy(|»xu,MiiimLib9H)H     i'i>'liH\' 
a6BrAe>K3MMK.niviHonpcTytj)xuHiiJiMbib3ion     iT>tev 
1234567890i(;,.:;---?!--       ()'-'»«n§[]  %;Ni  +  X=r** 
1234567890$..:;-"?!—.  ..()""»«*!§[]      N2+x  = 

Matrix  Inlormnlion  :  10A90.  l^en.i;th  nf  lower  case  alphaliet,  IfZ  points,  ('(inuna.  period  and  thin  space,  .0371;  figures.  .0742. 
Will  run  in  90  channel  layout.  Code  word.  OCOR. 

TWELVE    POINT 

ABBr;tE}K,3imK.IIMH0nPCTyOXUqilimbIb9K)H     YbWY 
ABBrAE>«3MPIK/llVIH0nPCTy(DXUHlUmblb3K)a     i"bt.ev 

auBrAeyK3iiiiK.iMii()nj»CTy(lJxii,Muiu],biL9K»}i     i'L^HV 
a6BrAeH{3MiiK;iMHonpcTy(j)xuHiuuj,bib3K)H     i'btev 

1234567890$..::-"?!—        ( )"-'»«*t§  ]]  %^^,+ x=r** 

1234567890$..::-'"?!—.  .  .  ()'-"»«*t§[]      N^ 

Matrix  Injorwatiou  :   M/^hb.  Length  ot  lower  case  alplinliet.  222.  points.   Coinnia.   period  and  thin  space,   .0445;  figures.  .089. 
Will  run  in  90  channel  layout.  Code  word,  OCPE. 

Russian  Condensed  No.  2  with  Antique  Black  No.  3 

ELEVEN    POINT 

ABBrAEm3MiiK,eiHonpcTyoxi|'imqbibaK)Ji   vbwr 

ABBrflEH{3MMKJlMHOnPCTy0XUHlUlMblb3K)R     I'bt.BV 

arii;r,U';i;;!iiiii;.iMiioiipcr;([ixu'iiumbii,;jio)i     i'i,t>H\- 
a6BrAe>K3MHKnMHonpcTy(|)xumuii^bib3H)fl     ibiev 

1234567890$,.  :;-'7!—   ()""»«*t^|  |  o/^.^j^  X=^*** 

1234567890$,.:;-"?!—.  .  .  ()""»«*t§[]%N9 

Matrix  Injonnation  :  11A66.  Length  t)f  lower  case  alphahet.  180  points.  Conmia,  period  and  thin  space,  .0408;  figures.  .0816. 
Will  run  in  00  channel  layout.  Code  word.  OCOI. 

Russian  Old  Style  with  Antique  No.  I 

TEN    POINT 

ABRr/];E>K3iifiK.iMHonpcTyoxnHmiij,HL3K)H    it-Bev 

ABBr^EH(3HHKJIMHOnPCTy<I)Xti;MmiI^Hb3K)H     iTj-Bev 

a6Br/i,e/K3iifiK.)iMHonpcTy(j)xii,Mmin,i>ib3ioH     i'L-feev 
a6B^;^e3K3HHKJIMHO^pcTy(J)x^HmL^I.II.^IOH     ixiev 

1234567890$..::-"?!-     ()""»«*t§[]%.^''^+x=IV 

1234567890$,.:;-"?!— ...()""  n§[i  N2+x= 

Matrix  Injormanon :  10A40.  Length  of  Inwer  case  alphabet,  207  points.  Connna,  period  and  thin  space,  .035;  figures,  .070.  Will 
rmi  in  90  channel  layout.  Code  word,  OCNA. 


<"  "LINOTYPE  ""•> 


842 


Russian  No.  1 1  with  Italic 

EIGHT    POINT 

Ai;i!rAK>K3iinK.iAiii()iip(:T.V'i.\nqiiniu.ii.;iioH    iF.iiOV 
Aum\T,E}K3]itih\mii()iii>(Ty(i>xn<niiini,u;.inni   ri.nov 

;ii'iiir;(f;i,:iiiiiK.iMnoiii)iT.vijixn'niiini.ii.;)i<))i     ii.t.os- 

<wiiit)r,nr.iuJiK.iMH(>iqicw!i(fi.vn'iiiiiii,i,n,.ii(iH     h.Uiof 
r2345G7S!H)$,.  :;-'■?!    -       (  )"""»«*tM  I  "„JV'+ X  =**** 
12345078<H)$..::---:' :--... I  y  "»«*f)^[ j'  .V' 

Matrix  Ivl.nmali.ni     SAIln.    I.cimtli   .n   l,,wci    .  asc  alliliahct,    1  ?r,  ,„„iils.   (  ,,iiiMi.i.   pen.,. I   aii.l   tli.ii   space.    .nj97;   fiKiircs.     0W3 
Will  run  III  'III  .liaiinel  lay. ait.  ChW  w..nl.  (IliSV. 

TEN    POINT 

Ar.Hr;tE;E;}iini;.LMH()iii'(T.v<i'XUMiiiiiu>n)')iOH   vhwv 
Ai;Tn\jF/,K:mnK:iMH()iip('Ty<Pxii'iiuu{i>ii>:~iii)H   VL'i;(i\- 

a6Br/i,('JK3iiilia>m()iii)cTy<|ixuMiiiini,ii,;jio}i     i7,t,ov 

a6eidcM3/iNh\i.vii()i/pciini(JifN,'iH(mbibJi()H     mhor 

12345(37800.1?,. ::-''?!-  (  )"^'»«*-;-§[]  %A[!+x=r/ 

ilatrix   hiUJi-iiiulu.ii  .    IDAXX.    l.eiiKth   mI   l,,M,.r   ,  asc  ,alpli;ilwt,    IX'l  pninls.   (  i.iiiiiia.   piTi.i.l  and   thin   >liate.    ,ll,!71  :   fiKiircs.    .0742. 
Will  mil  III  'III  cluinnel  lay.mt.  (..ili-  u,.rd.  (ilil'K. 

TWELVE    POINT 

ABBr;j,E;K:3Jni[K'.LAiTi(iiJirTy(i)Xuqiiiuii,ii.:ij()vi   vwwov 
ABBr;iEm:iurih\niuourcTy(i>xiiuniinhii>:)i()H  n/nov 

a(jBraeac3iiflK.iMHoii|)L'Ty(j)Xii,Miiiii;biB;)i()H     ii/lio\- 
(10  6  ?  drMSiiimjiMHon  pciii  i/(f>.rnH  ///  m  hi  hj  ion     iz  h>o  r 

12345G7S' 10$,. ::-"?!—       o -•■«»=:=•;•§[]  %.N^+ X=l=^ 
12S4r)(J7S00$..::-''^!—.  .  .  ( )"  "     '"'f^f]     M 

Mtitnx  liiloi  iiiiituni      1_'A4.S.    Lenitth   ..t   l(,«fr   case  .ilpliabet.   -'-'5   lidiits.    Cninina.   pen.nl   and   thin   sii.m-.    .044^:    licures.    .0X9. 
\\  ill  run  in  'ill  chaiinel  layi.nt.  Code  u.ird.  ZAVOF. 


Russian  No.  1 1  with  Antique  Black  No.  2 

EIGHT    POINT 

ABBrjtE/K3IinK.lAIH0nPCT><l'.\IJ.'imilJ,Bn.9I(J}l     IliJ.tn- 

ABBr/iE>K3iifiK;)MHonpcTy4>xuHiuiMbib3H)a    i-btev 

aniii'ji';i,:!iirii;.iMiioiipi'Ty(lixn'iiiiini.ii>;ii<>ii     ibl.in' 

a6Br/<e)K3MiiK.iiMHonpCTy<j)xi;miiiMbib3K)H     i^tev 
12345«789(l.^,.:;--'-.^l—       (  )-"»<r\^,  ] ' ;  .^2+ X  =**** 
1234567890$..:;-"?!—.  ..()■• "»«-  'AN° 

Miltiix   htlinmnli.n,     ,SA^N.    l.t-ivjlli   ..1    l..\\cr   lase  .aliihalict.    1.=-^   imiiits.    (■..niina.    lu-riod   and   thin   space.    .0297:   ficiircs,    .0?93. 
Will  rnn  in  'ill  cliaiintd  layout,  (  i.de  word.  OlirK 

TEN   POINT 

ABBr;tEJK3iini.".3MHoniMTy$xn'iiiimbib:)io}i   rj,'ii()\- 

ABBrAE>K3M«K;ilVIH0nPCTyct)XUHlUlJJ,blb3H)a     |-bt,e\^ 

;i('>ijr;i,(':/K;iiirii.MMii()ii|iiry<|ixii,'iiiiiii,i'ii.;ii()/i     ii.l;<i\- 
a6Brflem3MMK./iMHonpcTyt})xu,HiiJmbi  baton     ittev 

]23i:.(;7S!»()^,.::--->!  (  )-"»<^-n[\%^^+X=Vt 

1234567890$..::-"?:—.  .  .  ()"  "'»«-t>5[]      N9+X  = 

Mtitnr  hilm  mulhni      lllAXO.    len.utli   m   l.iucr  else  .ilpli.ilu-t.    1  S,-i  p.. mis.   (omnia.   Jieriod  and   Ihin   space.   .0.(71;   fiiiures.   .0742. 
Will  run  ill  '«)  channel  layuul.  (ode  vMird.  OHVI.. 


<.,.... LI  NOT YPE—> 


843 


Russian  No.  1 1  with  Antique  Black  No.  2,  continued 

TWELVE    POINT 

ABBr;i,Eac3imKJiMHOiiPCTy€>xi],qmii],Libyioa  i'l^uy 
ABBrAE>H3MP^K;iMHonpcTyct)XUHiiiiUbib3K)a    i"b-bev 

auBr;i;eiK3iinK»TiMHonpcTy(|jxmiiiiiu,bib:jioa     ittei" 
a6BrAew3MMK/iiviHonpcTy4)xi;Hiuii4bib3K)fl     i-btev 

12345t)7890$,.:-X"?!—       ()""»«*t§[]7oJ^2+ X=r** 
1234567890$,.:;-"?!—. . .  ()""»«*  N2 

Matrix  InU'imction:  12A5.'.   Length  of  lower  case  alphabet.  231   points.  Comma,  periled  and  thin  space.  .0445;  figures.   .089. 
Will  rim  in  90  channel  layout.  Code  word.  OBYS. 


Russian  No.  3  Light  and  Bold 

EIGHT   POINT 

ABBr/lE>K3MP1KJIMHOnPCTy*XU,MmmbIb3K3H    ib-feev 

ABBrAE>K3HI>lKJlMHOnPCTy<l>XU,MlUmblb3K)Jl    ITj-ReV 

a6Briie>K3nHK.iiMHonpcTy(})xumiimbib3K)H     iTj-feev 

a6BrAe>K3HHKJiMHonpcTy4)xumumbib3K)fl    {"b-bev 

1234567890$,.:;-"?!—       ()  ""»«*t<^[]9iMx +  =  J*** 
1234567890$,.:;-"?!—. . .  ()""»«*•;•§  1 1'fJft        = 

Matrix  Information :  8A120.  Length  of  lower  case  alphabet.  178  points.  Comma,  period  and  thin  space.  .0297;  figures.  .0593. 
Will  run  in  90  channel  layout.  Code  word,  ZAYOS. 

TEN    POINT   SMALL 

ABBrjlE>K3HriKJlMHOnPCTy*XUmiimblb3K)H     iiD-bev 

ABBr,aE>K3HPiKJiMHonpcTy<i>xumijmbib3K)fl   I-btev 

a6Br;ie>K3HHKJiMHonpcTy(})xu,mijmbib9K)H     i-btev 
a6BriieM<3HHKjiMHonpcTy(j)xuHU]mbib3io$i     ii^tev 

1234567890$,.:;-"?!—        ( )  ""»«*t$[  ]  %M+ X=* *■* 


1234567890$,.:;-"?!—.  .  .()""»«*t§I]      J^s+X^ 


'*  ♦ 


Matrix  Information  :  lOAllO.  Length  of  lower  case  alphabet.  196  points.  Ctnnma.  period  and  Thin  space.  .0371;  figures,  .0742. 
Will  run  in  90  channel  layout.  Code  word,  OBQO. 

TEN    POINT 

ABBrziE>K3MHKJiMHonpcT'yoxiiMmmbib3}o^  i-b-bev 

ABBr/lE>K3MHKJlMHOnPCTy<l>XUMlUmblb3K)5I    iTj-bev 

a6BrAe>K3HHK;iMHonpcTyc})XLi,miiLU,bib3K)H     iTstev 
a6BrAe>K3HHKjiMHonpcTy(i}xuHiiJmbib3K)ji    i-btev 

1234567890$,.:;-"?!—       ()""»«*!§[]  %-Ne+X=r** 
1234567890$,.:;-"?!—. .  .  ()""»«*t§[  ]     JVo+  x= 

Matrix  Injormation  :  lOAlOS.  Length  of  lower  case  alphabet.  220  points.  Ci:>nnna.  period  and  thin  space.  .0371;  figures,  .0742. 
Will  run  in  90  channel  layout.  Code  word,  OBOJ. 

TWELVE   POINT 

ABBrZlE>K3HPIKJlMHOnPCTyOXUqLLIUUbIb3}OH    IT^-beV 

ABBr/iE>K3MnKjiMHonpcTyoxuqmmbib3K)fl   i-b-bev 

a6BrAe>K3HHK.iMHonpcTy4)xuHLULHbib3K)H     iTj-feev 
a6BrAe>K3HHKJiiviHonpcTy(l)xumumbib3K)Ji    iijtev 

1234567890$,.:;-"?!—       ()  ""»«*t§[  ]  %No+ X=l*** 
1234567890$,.:;-"?!—.  .  .  ()""»«*t§[  ]%JVb+  X=l%* 

Matrix  Injormation :  12A1?U.  Length  of  lower  case  alphabet,  264  points.  Comma.  peritKi  and  thin  space.   .0445;  figures,   .089. 
Will  run  in  90  channel  layout.  Code  word,  OBPI. 


-^MRADE^I  Y\  DTYPE  "'^"'^^ 


844 


Russian  Antique  Black  Condensed  No.  2 

AEBrAE}K31KI1MH0nPGTy4xiiHlillliblb3H)fl    \im 

adBrAe)K3HiiKJiMHonpcTy$xiiHiiiiiibib3iO!i   iUer 

1234567890$,.:;-"?!-()""»«*N5 

Matrix   Injorination-   1SA>'1.    Leii(;Ili   dI    l,.wer   i;i'.e  ..IplKihel.   .M(l  imiiits.    I, ,,11,11.1.    |.<ri.,.l   ;iik1   tlin,    sp.HC.    .044^:   tiKures.    .089. 
Will  run  ill  '«)  cliannel  layoiil.  C.iie  wcrd,  OCKll. 

TWENTY-FOUR   POINT 

ABBrilE)K3MHKJ1MHOnPGTy0XllHllJmblb3IOfl  WW 
1234567890$m!|-"?!()»«*No 

Matrix  hifurinalivn:  24AfW.  I  ;ii.s.  i,kiii-cs  ^mhI  p,„,,t-  .,iilv.  I  ,11.1.  i„Ti.i,l  ;iii.l  iliiii  s]i;uc.    iiSv,;  tiKiire-.  ,111.'.  Will  run  in  50 

Lhaiiuel  l.ijcut,  (  cde  wc.rtl.  OCEI'. 

ABBrAE}K3l1liH0ilPCTy4)XllHiUlll 

bibdioii  \}m 

1234567890$,.:!-"?!()»«N9 

Matrix  Inloimation     30A-7.  (-'.ips.  tiKures  and  |.,.iiits  mhIj.  (  oiiiiiia.  iieriud  and  thin  span-.  M'-->l>;  tiKurcs.  .IIIJ,  Will  run  in  M 
thannel  lay. ml.  C.de  wiird.  (IGGA. 

Russian  Antique  Condensed 

TWENTY    POINT 

AEBrilElK3HiiKllMHOOPCTyi|iKI|<IUIIIlblb3IOII   llteif 
1234567890$,.:;-"?!()»«H» 

Matrix  Iniormativii     20A11.  laps.  tiKures  and  pmnls.  i.nly.  (  onmia.  pcrind  and  tliiii  -.p.iie.  .(144^;  tiKurcs.   .(ISV.   Will  run  in  90 
channel  layout.  Cede  word.  OCHE. 

Russian  Antique  Black  No.  12 

EIGHTEEN    POINT 

A5BrAE}K3m?lK/llVIH0nPCTyct)XUHIUlMblb3K)a 

iijtev 

a6BrAew3>iiiK;iMHonpcTyc|)xi;MUJi4bib3H)ii    iiitev 
1234567890$,.:;-"?!-()""»«*N5 

Maliix   liilornuifuni      \Hl\a').    Length   oi    loucr   la-.,-  alplialirt.  271    points.   I  oiiima.   pt-rioil  and   tlnu   ^iiaic.   .0?.-!.;  liKures.    .1112. 
Will  run  in  VO  clianml  layout.  I  ode  word.  (K  Ad. 


<•— LINOTYPE'—> 


845 


Russian  Antique  No.  14 

TWENTY-EIGHT   POINT 


AywiKiHonPGiyitiJdiiuibyioii  iii^ev 

12il4!iB7il30l,.:;-"?!-()»«No 

Matrix  luformation  :  28A11.  Caps,  figures  and  points  only.  Comma,  period  atid  thin  space.  .0482;  figures,  .096-4.  Will  run  in  90 
channel  layout.  Code  word.  OCIJ. 

IBBfillMiOiCMliuibSill  IW 
123456/Sa.i;-'?!()»«II« 

Matrix  Injormalion  :  34A5.  Caps,  tiguies  and  points  only,  (..miina.  period  and  tliiii  spaie.  .0336;  figures.  .1112.  Will  run  in  90 
channel  lay.mt.  C.Kle  \v.)rd.  OCJI. 


fORTY-TWO    POINT 


iiiiBrji[}K3iKJiionpm](iiiiii 
mm  wm 

12il4lifi/83DI,.;r"?!()N5 

Matrix  hijormation  :  42A?.  Caps,  figures  and  points  only.  Comma,  period  and  thin  space,  .0778;  figures.  .1557.  Will  run  in  72 
channel  layout,  and  ,^4  channel  auxiliary.  Code  word.  OCKO. 

RussiGxi  Caption 


TWENTY-FOUR    POINT 


A6BriiE)K3HnyMHonpcTyit)XiiHiiimbib3io}i  \im 

l234567890$,!;-"?!()»«No 

Matrix  Intormation  :  J4A7I.  Cai>s.  ti^iiires  and  points  only.  Comma,  period  and  thin  space.  .0556;  figures,  .1112.  Will  rim  in  90 
channel  layout.  Code  word.  OCCC. 


THIRTY-SIX    POINT 


iiM  \\M  \Mmh-im* 

Matrix  Injonnatioii :  36A19.  Caps,  figures  and  points  only.  Comma,  period  and  thin  space.  .0556;  figures.  .1112.  Will  run  in  90 
channel  layout.  Code  word,  OCMY. 


846 


<•  "LINOTYPE— > 


A    ■%■ 


M   %l 


CTpoKooT.miBHaji  ^[aIIIIIHa  .^IiiHOTim  A-IT-.I  n])(M,('TaR.iHOT  ii:^  cooh 
oaM()('T(»HTO.ii>H()  panoTaiomcc  ('HajnnKt'niic  c  iio.iiipjIM  ciiauiKciiii- 
eJM  A-iH  ()T.;iiiBKn  ovkb  ii  Tiin()r])a(jicK'(>r()  Maxepiiajia  \\  hii;i,('  cxpoK 
n[)n  ii()MOu;ii  Mf';i,nbix  iMaxpiin  iiaujjainii.ix  pyKofi.  .liinoTiiii  A-II-JI 

OT.IIIBaCT  CTpOKII  .'IIO('l(»r(l  Kt'lVIH.  B  lip('A<'-IilX  OT  5  ^O  1  W  IIYIIK- 
TOB.  Ha  (})()pMaT  B    K  )  UIIIU'p". 

JIiiHoTiiii  A-II-.l  BbinychacT  cBofi  iipo;i,yKT  h  iio.ihom  pa^Hoou- 
pa:^iiii  YAooHhix  (jiopM  ;vBi  bccx  Tiiii(trpa(|)civiix  iioTpcniiocTcn. 
Ct])()K'ii  JIiinoTiina  A-II-./i  oT.iiiBaioTcii  Ha  tomhvio  Bi.icdTv  n  nc 
T])(M')yi()T  HiiKaKoil  n();tK.ia;i,i>H.  <  ("ik'h  nyi»B  MorvT  nhrn.  nnipc  ixcr.iii. 
BhicTynaH  cro  cBcpxy  n  cHHiiy.  n.iii  ;k<'  c  oncnx  ctoix)!!.  MTonbi 
npHBccTH  HX  na  (tj,Hy  .nnniio  c  ;tByM;i  ii.iii  uo.km'  cTpoi.aMii.  ( K- 
;i.(MBHbie  oyKBbi  moivt  ubrn.  oT.nnbi.  cootbcr'Tbchho  iia,i,(M'iii()- 

CTH,  B  .IWOOiM   xVH'CTC   CTIXJI.H. 


847 


A-P-L  Russian  Poster  Bodoni 

18  Point  (1SA106I)  Lower  case  ali>liabet.  -430  ponils.  Code  word,  ZESSO 

ECJIM  Mbl  rOBOpMM^MTO  rJiaBOHCT  12 


:a  Point  (J-tAlliei  >  Lower  case  alphabet.  591  romts.  Code  word,  ZESTU 


EC  JIM  Mbl  rOBOpiIM,MTO  13 


J6  Point  (36A1061  )  Lower  case  alphabet.  879  points.  Code  word.  ZESUF 


EC  JIH  mbi  roBop  12 


42  I'oiiit  (•42AI061)  Lower  case  all)liabet,  IlllS  points.  Code  word.  ZESUL 


ECJIH  MM  ro  13 


LIST     OF     CHARACTERS    AVAILABLE 
IN     RUSSIAN    ALL-PURPOSE     LINOTYPE     FONTS 


AKBr;|E»£3IIIltKJIMHOnPC 

Ty<i»xi^^iuii|i»i>ii»aioiiv 

a6Br/l,eHi3HHK.1MHOnpCTy^XII, 


HIUIll,'bbIbaiOH 


1234567890$, .:;?!()*'-*-JVo«.. 

Tjs,  rji  r^  r^  r^i,  m 


848 


A    ■%■ 

-(  -LINOTYPE"  > 


M    % 


A-P-L  Russian  Caslon  Old  Face 

18  I'mnt   (lSAin41)   Lower  ta^e  .ilphiilit-t,  i'-<'}  li.iuils,  (  (icle  wnl,  /IJI  A 

EC7ILi  MLi  r'OBopiiM,  MTo  rviaBeiicrHyioiii^ee  Mccro  cpc/i,  12 


J4  I'oinl   (J4AKI-1U    Lower  case  aliiliHlicI.  ,LSX  poinls.  (ink-  word,  Zl-.ilCI 


EC7IH  Mbi  roBopiiM,MTo  rjKiBeHCTByio  12 

.111  I'oint   (.111^11141  I    Lower  .a^e  alpliahel.  4S.'  i.oiiit-.    I 'o.!..  uoi.i,  ZKIlllO 

EC7TM  MLI  roBopiiM,MTo  iJiaBe  1 2 


J6  I'oirit    (,16A1I141)    Lower  case  alplialiet.  S(,7  poml^.  (ode  word.  /A/SK 


EC  JIM  MLI  rOBOpHM,MT  12 


42  I'oint   l4.'Alll4n    L.nver  .a>e  alphaliet.  S7'/  |.o^lt^.  (ode  w<.rd.  ZLIH-.M 


ECHJI  Mbi  roBopHM  12 


4.S  I'oint   (4XAII)4II    Lower  tase  alplialiel.  7,17  liouits.  (  ..de  word,  ZKDET 


EC  JIH  MBI  roBop  12 


A-P-L  Russian  Caslon  Old  Face  Italic 

18  Pciint  (1XA1IH4)  Lower  ta-,e  alphabet,  .MX  poinls,  (  ode  uovd,  /K.LM 

ECJIM Mu  loeopuM^  Hmo  jjiaoeHctnoyioutce  mcc/uo  cpcOii  12 


24  I'oint   (J4AI044)    Lower  case  alphaliet,  .t.'ll  points    Code  worrl,  ZIJ\'() 


RCJIH MU  loeopHM^  Htno  iJiaeencmeyioiue  12 

,111  I'oint    l,'i(lAlll44)    Lowercase  alplialiet,  4_']   points    I  ode  word,  /K.ILM 

ECJIH MU  loeopuM^  nmo  ijiaeenc  12 


.it.  I'oint  Hi,Alii44i   Lower  case  aliihalict.  ,s|  s  points    I  .nle  woid,  /K.I  11' 


ECJIH  MM  loeopuM^  umo  12 


4.'  I'oint    (4.'AIII441    Lower  lase  alph.il.el,    S7ll  points     I   odewoid,  ZK.II/ 


ECJIH  MU  toeopuM,  h  12 


849 


A    IN 


-(  -LINOTYPE- > 


A-P-L  Russian  Caslon  No.  3 

18  Ponit  MxAin^^'  Lowercase  alphabet.  .177  pnint^    (  m,1c  uur.l.  ZKI.in 

ECJIH  Mbi  roBopHM,  HTO  rjiaBCHCTBy  12 

24  I'oiiil   (->4A^'l4^l   L.mer  case  aliiliabet,  48S  pomts.  Code  word.  ZEJKT 

ECJIH  MM  rOBOpHM,  HTO  TJia  1 2 

30  I'oint  (.5nAin4^i  I  ower  rase  alphaliet.  ?''!  points.  Code  word.  ZIJdT 

ECJIH  Mbl  rOBOpHM,HT  12 

36  I'oint  (36A10451  Lower  case  alplial)et.  726  i)oints.  Code  word.  ZEJLA 

ECJIH  Mbi  roBopH  1 2 

42  I'oint   (42Ain4=;i   Lower  case  alpliabet.  .^1'"  points.  Code  word.  ZEVl'L 

ECJIH  MM  roBO  1 2 


48  I'OHlt   (48A104.^l   Lower  case  alphaliet.  ')62  points.  Code  word.  ZEJME 


ECJIH  Mbi  ro  12 

A-P-L  Russian  Caslon  No.  3  Italic 

18  Point  ()8A1'I471  Lower  case  alidialiet.  4iJl)  points,  (ode  word.  ZEJCC 

ECJIH  Mhi  loeopuM,  Htiio  ijiaeeuctn  12 

24  Point  (24A1II47)  Lower  case  aliilialiet,  SW)  points.  Code  word.  ZI.TOZ 

ECJIH  MM  loeopuM.Htno  ijia  12 

30  I'oint  (3nAl"47l   Lower  case  alphabet.  624  points.  Code  word.  ZEJl'J 

ECJIH  MM  toeopUMf  H 12 

30  I'oint  (JoAlii47)   Lower  ca^e  aliihal.et.  751  points,  lode  word.  ZE.ICl' 

ECJIH  MW  toeopu  12 

42  Point  (42AI047)  Lower  case  alj.habet.  864  iioinls.  Code  word.  ZIJKA 

ECJIH  MW  toeo  12 


48  Point  (48A1047)  Lower  case  aljiliabet.  986  points.  Code  word.  ZIJSE 


ECJIH  Mbl  to  12 


850 


-(  -LINOTYPE"  > 


A-P-L  Russian  Caslon  Bold  Condensed 

IK  Pniiit    (IHAIIMd)    I..UVIT  Last-  all.haht-t .  ."W  p.iints.  I   m,|c  «,,r.l,  ZKJNl 

ECJIH  Mbi  roBopHM,  HTO  rjiaeeHCTByiomee  mcct  12 

J4  IViiilt   (-MAKMf,)   Lower  case  alplialiet,    i"I   pninls.  I  ,,ile  w.ir.l.  ZI.IZI 

ECJIH  Mbi  roBopMM,HTo  rjiaBeHCTByio  12 

.in  I'.iiiit   I.IOAKM'".)   I.iiwtr  case  allilial)pl.  4^^  pciiilv,  r,„lc  vvcr.l.  Xi'.IKI' 

ECJIH  MM  rOBOpHM,MTO  rjiaBCH  12 

,ti.  I'.. lilt   (.iiiAlll-t'il   l.out-r  i-ase  alpliahtt.  Sh-i  p.unts.  (  ode  u..r<l.  /K.ISA 

ECJIH  MM  rOBOpHM,HTO  F 12 


4J  r.iiiit   (■IJAlli-lM    I  o«.-r  .a^e  alphal.el.  i.-4^  points.  Code  unrd.  ZK.n  K 


ECJIH  MM  rOBOpHM,H  12 


4S.  I'., lilt    (4,^'A1"4M   I  o«,.i   ,.,v,.  .,l|,li.,l,et.  7,54  points.  <  o,ie  uoril.  XIKIII 


ECJIH  MM  roBopH  12 


60  Point  (f.nAIIMt.)  Lower  case  alplialiet.  'Mil  points.  Code  word.  ZIKCO 


ECJIH  Mbi  roB  12 


A-P-L  Russian  Metroblack  No.  2 

l.-^  Loiiil   il.-^AHii,.'!  Lower  lase  alphahel.  .143  points,  i  ,.df  woid.  /I.LI  I 

ECJIM  Mbi  rOBOpMM,  HTO  rJIOBeHCTBy  1011^66  12 

_'4   IViint    l-'4All«..')  Louer  case  alplialiet.  44.x  points.  Code  word.  /I.ILP. 

ECJIM  Mbi  roBopHM,  HTO  rnoBeHC  12 


311  Point    (3(lA106JI   Lower  lase  .ilrill.iliet.  s(,s  iioiiils.  I  ode  woid.  /I.UII 


ECJIH  Mbi  rOBOpHM,  HTO  T  12 


4J  Point    (4J.Alliii3l   l.ouer  i.ise  .ilpli.iliet.  7''I   points    (  odewoid.  /I.II'.N 


ECJIH  Mbi  roBopH  12 


851 


AlVi 


-(•-LINOTYPE"  > 

#    %■      ha 


A-P-L  Russian  Metrolite  No.  2 

18  Point  (1SA1059)  Lower  case  alphabet,  J3J  points.  Code  word.  ZESOK 

ECJIM  Mbi  roBopMM,HTO  rnaBeHCTByK)Lij,ee  m  12 

24  Point  (24A1059)  Lower  case  alphabet.  435  points.  Code  word.  ZESOR 

ECJlM  Mbi  roBopMM,HTO  rnoBeHCTlZ 

30  Point  (30A1059)  Lower  case  alphabet.  549  points.  Code  word.  ZIJUV. 

EC Jl  M  Mbi  rOBOpklM,  HTO  TJI  1  2 


36  Point  I36A1059I  Lower  case  alphabet.  651  points.  Code  word.  ZESPE 


ECJl  M  Mbi  rOBOpMM,  H  1 2 


42  Point   (42A10591   Lower  case  alphabet.  769  points.  Code  word,  ZESRl 


ECJlM  Mbi  roBopM  12 


A-P-L  Russian  Metromedium  No.  2 

IX  Point  (18A1075)  Lower  case  alphabet.  303  points.  Code  word.  ZIJKA 

ECJIH  Mbi  roBopMM,HTO  rJiQBeHCTByiomee  mgctoIZ 


24  Point  (24A1075I  Lower  case  alphaliet,  396  points.  Code  word.  ZIJLE 


ECJIM  Mbi  roBopHM,  HTO  rjiaeeHCTBy  12 

311  Point  (3nAin75)   Lower  case  alphabet.  500  points.  Code  wvrd,  ZIJMI 

ECJIM  Mbi  roBopMM,HTO  thobM 


36  Point  (36A1075)  Lower  case  al]ihabet,  .593  points.  Code  word,  ZIJNO 


ECJIM  Mbi  r0B0pMM,HT0l2 


42  Point  (42AI075I  Lower  case  alphabet,  692  points    Code  word,  ZIJOM 


ECJIM  Mbi  rOBOpHMlZ 


852 


-<     LINOTYPE- )- 


A-P-L  Russian  Cheltenham  Bold 

IH  l',)]nt   (1SAI05S1    Lower  lasc  a!|iliai)el.  3J(.  lioiius.  Cnile  uiird.  Zl'/ll-l 

ECJIH  Mbi  roBopHM,HTo  rjiaBCHCTByioii^ee  m  1 2 

24  Point  (J4A105X)   Lower  .  ase  alpliahet.  426  points.  Corle  word.  ZI';rHi; 

ECJlH  MM  rOBOpHM,HTO  rjiaBCHC  12 

JO  Loiiit   (.illAlOSXI    l.owei   case  ali.halief,  ^11    i.omts    (  ...|e  word.  ZK'LII) 

ECJIH  MU  rOBOpHM^HTO  TJia  1 2 


36  I'oint  (3f>AH)5Hl  Lower  case  alidiabet.  62X  iioints.  ('ode  word.  ZETIK 


ECJIH  Mbl  rOBOpHM,H  12 


48  roint  (4HA105S)   Lower  case  alpliahet.  XI  7  i.omts,  ( Ude  word.  ZETIK 


ECJIH  Mbi  roBo  1 2 


A-P-L  Russian  Cheltenham  Bold  Italic 

IX  I'oiiit   (IXA106II)   Lower  case  all>lialiet,  J4I   points    Code  word.  ZF.'s\-.\ 

ECJIH  Mbl  zoeopuMyHmo  zjiaeeHcmeyiouj  12 


24  I'omt   (24Alil')ni    Lr.wer  case  alphaliel.  42X  points    I 'ode  uord,   ZLSZC 


EC  JIM  Mbl  zoeopUMyHmo  zjiaeen  12 

3»  Point  (3()AI0bi)i  Lower  case  alphabet.  524  points.  Code  word.  ZKTAB 

ECJIH  Mbl  ZOBOpUM,  Htno  z  12 


36  I'oint    (.1rtAlll6ni   L.nver  case  alplialiel.  6,17  points.  Code  u.ird.  ZI'.I.MI 


ECJIH  Mbl  zoeopuM,  h  12 


42  Point    (42A1<)60)   Lower  case  alplialiel.  7,14  |.oint-     Code  word.  ZK'IAN 


ECJIH  Mbl  zoeopu  12 


4X  I'oint   (4XAIII Lower  c.ise  aljiiiahet,  X,1o  |,ooils    I  ode  woni,  ZKTAV 


ECJIH  Mbl  Z060  12 


853 


-(•  -LINDTYPE""  )- 


A-P-L  Russian  Cheltenham  Bold  Condensed 

18  Point  (I8A1II>"I  L.nver  case  alphaliet.  279  i.oints,  I  ..de  word.  ZKTCA 

ECJIH  Mbi  roBopHM^HTO  rjiaseHCTByioii^ee  iviecTo  cpe  12 

24  Point   (24AH157I  Lower  case  alplialiet.  J4S  points.  Code  word.  ZETDE 

ECJIH  MM  roBopHM,HTO  rjiaBeHCTByK)iii,e  12 

M)  Point   l.?(lAlli-^7t  Lower  case  ahihahet,  42X  points.  Code  woriL  ZETEC 

EC  JIM  Mbl  rOBOpHM^HTO  rJiaBCHCT  12 

36  Point  l.1(,Alii?7)   Lower  case  alpliabet.  507  points.  Code  word.  ZETEJ 

ECJIH  Mbl  rOBOpHM^HTO  TJI 12 


42  Point  (42A10.S7)  Lower  case  alphabet.  5S0  points.  Code  word.  ZETEP 


ECJIH  MM  rOBOpHM^HTO  12 


48  I'omt  I4SA1057)  Lower  case  alplialiet.  6.S8  points.  Code  word.  ZIJYE 


ECJIH  Mbl  rOBOpHM^H  12 

A-P-L  Russian  Cheltenham  Bold  Condensed  Italic 

18  Point  (IKA1074I   Lower  case  alphabet.  2S4  points.  Coile  word.  ZIJHO 

ECJIH  Mbl  lOBopuM,  nmo  iJiaeeHcmeywu^ee  mecmo  12 

24  I'l.int  i24^]ii74)  Lower  case  aljihaliet.  359  points.  Code  word.  ZIJIF  — 

ECJIH  Mbl  io6opuM,Hmo  iJiaeeHcmeywu!  12 

30  }'oint  L?(lAIIi74)   Lower  case  aljihabet.  436  points.  Code  word.  ZIJIL 

ECJIH  Mbl  loeopuMfHtno  iJiaeeHcl2 

36  Poml   (36AIII74I   Lower  case  alphabet.  529  i.omts.  Code  word.  ZI.ILS 

ECJIH  Mbl  lOBOpUM,  Hino  Ul  12 

42  Point  (42AI('74i  Lower  case  alphabet.  611  points.  Code  word.  ZIJIY 

ECJIH  Mbl  loeopuM,  H 12 


48  Point   I48A1II74I  Lower  case  alphabet.  693  iioints.  Code  word.  ZIJJU 


ECJIH  Mbl  lOBOpUM  12 


854 


LINOTYPE   HEBREW  FACES 


Hebrew  Font  Schemes  :As  the  standard  Linotype  maga- 
zine has  90  channels  and  the  Hebrew  alphabet  3  1  different  char- 
acters exclusive  of  points,  figures  and  spaces,  a  standard  set  of 
Hebrew  matrices  for  a  90-channel  magazine  consists  of  a  font  of 
one  point  size  or  face  in  the  cap  channels  and  another  font  in  the 
lower  case  channels  with  the  usual  figures,  points  and  spaces  in 
the  center  channels.  This  combination  of  two  different  faces  for 
one  magazine  is  usually  made  up  of  6  and  8  point,  9  and  1 1  point 
or  9  and  12  point.  Figures  and  points  of  the  smaller  sizes  can  be 
used  in  both  faces,  as  Hebrew  in  all  point  sizes  is  made  on  com- 
mon alignment. 

A  combination  set  of  the  two  fonts  above  mentioned  con- 
tains 1400  matrices.  A  single  font,  including  figures,  points  and 
spaces,  contains  926  matrices.  A  font  of  31  alphabet  characters 
only  contains  474  matrices.  These  fonts  may  be  purchased  sepa- 
rately or  in  combination. 

Attention  is  directed  to  the  new  Hebrew  No.  3  Series,  shown 
herein,  which  introduces  the  modern  sans  serif  design  to  Hebrew 
types.  Made  in  both  regular  and  italic  forms,  and  in  one-letter  and 
two-letter  combinations. 

With  each  specimen  there  will  be  found  data  outlining  the 
conditions  under  which  the  various  point  sizes  can  be  run  in  the 
magazine.  Some  of  the  faces  are  too  large  to  permit  the  use  of 
more  than  one  font  in  the  magazine,  while  in  some  of  the  condensed 
faces  it  is  possible  to  use  two  display  faces  in  one  magazine.  Please 
be  sure  to  consult  data  in  connection  with  each  face  before  making 
up  your  order. 


MERGENTHALER  LINOTYPE  COMPANY 

BROOKLYN,  N.  Y.     •     NEW  YORK  CITY     •     CHICAGO     •     SAN  FRANCISCO 
NEW   ORLEANS     •     CANADIAN    LINOTYPE,    LIMITED,   TORONTO 
Representatives  in  the  Principal  Cities  of  the  World 


17  35 


133  134  37  104 


121  127 


133  134 


13 

19 

25 

31 

37 

43 

49 

55 

61 

67 

73 

79 

85 

10 

21 

16 

18 

7 

87 

86 

85 

122 

128 

10 

21 

16 

18 

7 

s 

T 

c 

B 

T 

EM 
SPACE 

EN 
SPICE 

IKI« 
SPiCE 

2 

8 

s 

1 

D 

a 

t 

2  8  14  20  26  32  38  44  50  56  62  68  74  80  86 

1  4  12  3  53  100  106  107  123  129  1  _4_  12  3  53 


3  9  15  21  27  33  39  45  51  57  63  69  75  81  87 

38  39  5  20  8  101  112  131  124  130  38  39  5  20  8 


K 

X 

n 

P 

n 

• 

' 

$ 

4 

0 

8 

« 

n 

P 

n 

4  10  16  22  28  34  40  46  52  58  64  70  76  82  88 

9  15  14  32  11  102  108  119  125  ^ 15  14  32  11  36 


13 

2 

a 

1 

2 

: 

" 

" 

5 

to 

: 

a 

1 

2 

PI 

5  11  17  23  29  35  41  47  53  59  65  71  77  83  89 

24  34  2  19  36  103  105  25  126  24_  34_  2  19  37  114 


u 

D 

3 

:i 

^ 

: 

J 

n 

6 

ty 

D 

3 

:j 

V 

12 


18  24  30  36  42  48  54  60 


66 


72  78  84  90 


KEYBOARD  DIAGRAM  No.   13  — For  two  fonts  of  Hebrew  in  90  channel   magazine.   Number  over  keybutton  is 
character  number.  That  under  keybutton  indicates  magazine  channel  in  which  character  is  to  run. 


LIST  OF  CHARACTERS   •   LINOTYPE  HEBREW 


1 

S 

19 

!f 

101 

125 

5 

198 

^ 

291 

D 

146 

Vs 

171 

t 

2 

3 

20 

P 

102 

: 

126 

6 

199 

SI 

292 

n 

147 

% 

167 

No 

3 

: 

21 

T 

103 

) 

127 

7 

200 

ss 

308 

11 

148 

ys 

169 

% 

4 

1 

24 

L/ 

104 

2 

128 

8 

201 

t' 

324 

ty 

149 

% 

137 

% 

5 

n 

25 

n 

105 

I 

129 

9 

202 

b' 

443 

N 

150 

% 

138 

=s» 

6 

1 

32 

1 

106 

( 

130 

0 

203 

n 

901 

^ 

151 

^5 

170 

m- 

7 

T 

34 

c 

107 

) 

131 

$ 

204 

s 

1001 

5S 

152 

ye 

156 

9V 

8 

n 

35 

1 

108 

tr 

132 

cS: 

205 

• 

182 

I 

153 

% 

157 

-w 

9 

D 

36 

" 

110 

- 

54 

r. 

281 

^ 

183 

V 

160 

En 
Dash 

161 

o 

10 

^ 

37 

r 

111 

* 

159 

S 

282 

i 

184 

X 

117 

1 

164 

+ 

11 

3 

38 

s 

112 

/ 

191 

V. 

284 

^ 

139 

ys 

172 

H 

165 

X 

12 

s 

39 

S' 

114 

— 

192 

285 

1 

140 

¥4 

173 

t 

166 

= 

14 

D 

40 

2 

119 

tf 

193 

286 

1 

141 

% 

174 

1 

15 

: 

53 

s 

121 

1 

194 

287 

il 

142 

¥2 

136 

§ 

16 

c 

133 

"  1 

122 

2 

195 

3 

288 

7 

T 

143 

■ys 

154 

[ 

17 

V 

134 

>)"1 

123 

3 

196 

3 

289 

D 

144 

% 

155 

] 

18 

D 

100 

f 

124 

4 

197 

3 

290 

: 

145 

% 

135 

£ 

856 


HEBREW   FACES    IN    SERIES 

6  Point  Hebrew  (6A17>  l.eiiKth  of  alphabet.  85  pnint-i       FiKiires.  .0484 

8  Point  Hebrew   (8A7n  I.eiiKlh  .>f  .•ill>ll;il)et.  '>.i  I'oints.      FiKinrs.    O.W 

9  I'oint  Hebrew   No.  J  I9A-"')  Length  of  alphaliet,   IIX,  jioMits.      FiKnre.s.  .0692 

1234    yr  D^yDo^^Ty;  px  ,u^^\no-iyD  ,iyDi^:!i;j  ,L2:;yry;Q^ix  lyiyn  s^-'dj^j"^  nyn  ^inx 

11  Point  Hebrew  No.  2  (I1AJ7I  Length  of  alphaljel.  1J(I  points.      Kignres.  .0692 

12  Point  H.I. lew    IIJA7'J)  Len>;tb  (.1  .ilr.li.ibcl .   140  points.      l-iKiiies.  .08.1 
U,  Point  Hebrew   tl(,A.^)  LeiiKlli  ..f  allibabel,   IX.t  points.      l-iKiiies.  .0968 


18  Point  Hebicw   (18AX.))  Len«lh  of  alpb.ibet.  237  points.      PiKures,  .1107 

28  Point  Hebrew    (28A17I  Lent'lh  of  alphabet .  .U.H  p.. int-,.      Ficmes.  .2075 

36  Point  Hebrew   (36A67I  Length  .if  alphabet.  574  p., nils.      Figures.  .3873 

12  i^^*?  QV"t  ei'''lN 

14  Point  Hebrew  No.  3  with   llaln.   n4A1681  LenRth  of  alphabet.  170  p., nits.      FiKuies.  .0968 

1234  g  ,irDNjJUJ  ,u:^UTr;g^iN  luirn  g^^uNj^^^  ddt  q^iN 

18  Point   Hebiew  N.i.  .1  (IKA2V7I  LeiiKtli  "I  alph.ib.t.  .M  !  p.. Hits.   FiKure  I.  .11117;  2  to  0.  .1245 

12  U^^UTUJg^lN  lUILni  §"l)!^J"'?  DU7  ^'m 

IK  p.. lilt    I  lei. lew    N...  .i   It. ill.    I  l.S  ^J'l'O  I  eiii-lll  ..t  all.li.ib.l  .  JU  i...ii.ls     FiK.iie   1.     1  l(i7:  .'  t,.  <l.  .1245 

24   Point    lii-l.i.-u    .\..     i    IJ4A-'4'JI  LeilKtIi  ..1  .ill.li.ib.'l.  J''.^'  l.-n.ls     l-iK.iH-!.     1  .f.S3 ;  2  I. .  II.  .  I(,6 

12  "-IN  iuiun  ^■'■'iD^r"'^  mi  ^'^R 

24  Point  Hebiew   .\o.  3  It.ilic  (24A2.=.l)  I  i-iik;lli  .i|  ,.lpli..l.el.  MS  p,.iiits     l-iKiue   L  .  1  .f83  ;  2  t..  (I.  .166 

\i  ^^'R  \^^^'^^^  s^^'o^r"^  urn  tih 

9  P<.iiit  Hebiew  No.  2  with   llalu    No    .i  lOAHO)  l.eiiBth  of  all.habel.  107  p..ints       FiKines.  .070 

1234    yr  D^yoaxty:  ns  .o^^nonys  .lyosaya  .D^'ytyjsMN  tyiyn  E^'osr^:?  Dyi  fi^x 

12  Point  Hebrew  with  Italic  No.  3  (I2A296)  LeilKlh  of  alphabet.   140  p.iints.      FiKiiies.  .083 

1234   ^\n:2iys  ,ij;D«:j;i  ^iD^iy^V^s'^vs  vnv^'i  s^^'L^Nr^!?  dj;-i  ri^ix 


857 


HF3REW   FACES    IN    SERIES 

5  Point  Hebrew  I.iglit  with  Bold  (5A34)  Length  of  alphabet,  75  points.     Figures.  .0415 

1234      11)11  B"DKj"'7  Dyn  n'lx  UKnips  inut  u'ryaastvj  iiK  .u'r^nDiyD  .iudnj^j  ,Dsyty3D''iN  lynyii  B^tDSj"^  ayi  ti'lK 

6  Point  Hebrew  with  Italic  (6A290I  Length  of  alphabet.  86  points.      Figures,  .0484 
8  Point  Hebrew  with  Italic  l8A4ng)  Length  of  alphabet,  93  points.      Figures,  .059 

1234    nips  nn'jt  n'r^n^Kup  r>t<  ,u'7"'nu-^^J3  ,\^DS;i^i  ,a^^\^i3MS  ■i^n^'\"\  s^csir^'?  q^jt  t\MS 

11   Pf.int  Hebrew  No.  2  with   n.ild   (1IA108I  Length  of  alphabet.  120  points.      Figures,  .0692 

12  Point  Hebrew  with  Hebrew  Light  Face  (12A2y4)  Length  of  alphabet,  149  points.      Figures.  .083 

12  Point  Hebiew  Condensed   (12Asn  Length  of  alphabet.   110  points.      Figures.  .083 

16  Point  Hebrew  I  ondensed   I15A7I  Length  of  alphabet.   1.1(1  p.iints.      Figures,  .0968 

20  Point  Hebrew  Condensed   I20A7)  Length  of  aliiliabit.  I'M  puints.      Figures,  .1107 

12  m:  ,Dsyi53s^"is  ipiyn  s^^dsp?  dji  ji^is 

28  Point  Hebrew  (ondensed   (28A9)  Length  of  alphaiiet.  2-W>  puints.      Figures,  .1107 

30  Point  Hebrew  Condensed   (,«),A141I  Length  i.f  alphabet.  2i,2  p.nnts.      Figures.  .2075 

1 2  m^  I J1J11  raxr?  Dpi  ^i^ix 

36  Point  Hebrew  Condensed  (36A91  Length  of  alphabet,  266  points.      Figures.  .1107 

4'  Point  Hebrew  Condensed  (42A29)  Length  of  alphabet.  396  points.      Figures.  .2906 

12  ^''m'">  DPT  Ji^^N 

42  Point  Hebrew  F.xtra  Condensed  (42A45)  I  fiiKth  ..f  alphabet.  .l=;n  p,,ii,t^       Figures.  .249 

12  pn  fi'W^  DPT  «lTi5 


858 


1  1    POINT  HEBREW  No.  2 

(Special  for  English,  10  point  alignment) 

20.  I  express  my  doubts  on  the  bases  of  the  brilliant  and  daring  historical 
and  geographical  deductions  drawn  from  text  C  by  M.  Dussaud  in  RHR.  C^y;, 
if  "Arabs",  should  be  spelt  2y;  or  C'^-y.  This  root,  2"]^  and  C2~V,  appears  in 
five  other  cases  in  the  text,  where  Arabs  do  not  qualify.  The  U^p  "I-ID,  1.  75,  is 

M  Mnr\  iNt.iBM  Mi..\  Will  run  in  i;i|i  .n  lowi-r  r.isc  siili-  .,f  'III  cliaiiiicl  l.iyc.iit,  li-nKtli  nl  .ilijli.ilicl.  l.'ll  |j.  unt-.  HI  jiouil  .iIIkii- 
niciil,  Sni.illest  ■-Iuk  ..ii  whiili  this  face  will  ,  a^t  is  II   jioiiit.  (  ,,,l,.  VV..T.1     ZhMiih.   11A49. 

'111.-  Il,l.i,w  alpli.iliil.  .is  sli.iun  111  Ihc  .ilin,-  spciiiiifii.  is  |iiiii.  hid  iiivcrl.il.  lo  [.cunil  niserlMii  ..f  wciids  111  hnxlisli  1  ext 
wllllMiil    ,iilllll«    slllKs   .111.1    Jllslllyinj;    liy    ll.ili.l 


1  1    POINT  HEBREW  No.  2 

(Special  for  English,  1  2  point  alignment) 

20.  I  express  my  doubts  on  the  bases  of  the  brilliant  and  daring  his- 
torical and  geographical  deductions  drawn  from  text  C  by  M.  Dussaud 
in  RHR.  C2y;,  if  "Arabs",  should  be  spelt  ny;  or  D^niy.  This  root,  2--;  and 
C2y;,  appears  in  five  other  cases  in  the  text,  where  Arabs  do  not  qualify. 

M   MKIX     iNKIRMMh.N         Will    llIU    TU    ...|.   ..r    1..U.-1     ..IS."    Sl.lc    ..1    ' « I    ,  ll.llllll'l    l.l>..lll       LcilKlll    "t    ..  I  pll  .ll  ..•  1  .     IJI I    [...lilts       |.'    ,.,.|,|1    .llltM- 

nieiit.  Smallest  sIiib  ..il  which  this  face  will  cast  is  IJ  jii.tiit.  (  ...le  \V..r<l:  Zl.v.M.i     11A51. 

1  Ik-   llelireu    .ilpli.iliet .   ..s  sh..wii   in   tin-  ..l..,\o  spe,  iiiuii.   is  pun,  lu.l   iiupitc.l.   t..  iiciinit    insciln.ii  ..I   w.i.ls   in    l.n.t'lish    Text 
Willi. .Ill    .llllllm    sluKs   au.l    lUslilyiiiK    ll)    li.inil. 


LIST    OF    CHARACTERS   AVAILABLE    IN    TWO-LETTER    FONTS 

''^nQnKxrfnDinti^ipi*Q);Djr^'7D"'DnnmnK 

^  (,.:;?!,,-*'—")  $1234567890 

(,.:;?!„-*'—")  $1234567890 


^^llg:l^^^^lfqlDl^uJ1R:^guDJD'?D^lD^Tl^TJn^^ 

(,.:;?!„"*'—")  $1234567890 
(,,.-.  ;?l„"*'—"HA234567890 


LIST    OF    CHARACTERS    AVAILABLE    IN    DISPI-AY    FONTS 

(,.:;?!„-*'-")  $1234567890 


859 


(""LINOTYPE"   0 

5  POINT  HEBREW  LIGHT  with   BOLD 

(Two-Letter  Matrices) 

jiispnpii  u^n  ipxijyn  um  tt  ?yp  !i':yQ  nynsJiijD  ipt  j^sp-iyn  u'ki  iviiivi  a>3  tt  jy,'?  !i'jy»  ivj-isnxa  lyn 

VJKJ  •'II  nyoy^  'jyo^a  k  nyis  juyj  dij  vi'i'j  ?yi"r  dnii  r3«2  'ii  lyoys  '7»d'2  s  ly-iK  auyj  uij  I'l^s  iVJ'n  dkii 

uj'Ti  J1D  jytf':my-y3  y^'x  lyjn  lytiD  r'spiyii  ymj   on  t;3"n  ns  iyB'''jDnyny3  yrs  }y:n  lynn  3"sp-iyii  yuij  .cij 

iyti»<jQiyny3  yonyoyunyD  ^y^s  n  lyn  lyjyp  tmk  hk  iyB":Dnyny3  yu-iyDy-unyD  ^yo  n  lyj'T  ty:yp  tik  nx 

T^K  r'spnyii  jyo'inj  n  jid  nyDsty  lyi  .ddjipix  lyi  jis  fx  J"xpnyii  iVD^n:  k  no  lyoKti'  -lyn  .usjipis  nyn  iid 

IS  lya'i^ny  a^:  in  lyp  ny  .■'lucnrN  nyi  jid  k'^:  nyn  is  jya'i'jny  u':  m  lyp  ny  .nuonj'K  lyn  no  (cs:  lyi 

.lyjjnrmy    ymynnD    lyTDSKiK    .r^yuE^nyuj'n    T"t  .lyaJTU'D-iy    yr'nyn''nD    ivtbdktk    .j'^yBi»nyuj''n    r't 

Tt   ,jyD"iix   K  rx  iym<3  iiK   DTK   i"K  I'-N    lyDNDSKj  TT  .tyu"ns   k   rx   iy"i<3  ?i«   tJTX   )"K   TK    lyisasKj 

ujKii  Ty  DK11  DNT  jytK^DMK  lyxjN:!  7'N  lyTN  lynyTiD'iN  D3N11  -I]!  DKii  ONT  )ytK'7CMK  jy;i3is3  rx  TyT<  lynyinoMK 

s'^iDNj"^,,  lyr'D  „}>KT  i^ttJKD,,  Tymyii  't  .iyjii<3  is  o^:  b"B)<:"^„  iy3"tt  „}•><?  ri^KO,,  -lyuTyii  n  .lynxs  is  t3': 

113  lyuiyoy^y  v'>t<  ''"ii  .u^yii  lysJKJ  nyi  nyn-x  ..rxt  no  lytuyoyry  y^s  '7"ii  .u^yii  nysjsa  -lyn  nys^'x  „rNr 

nyn  T'd  lyiKiiyj  lyDNwy:  )y3"t  VNt  ra'Kn  ?y3'n3'7NDTy  lyn  to  ly-ixnyj  lyDsii-yj  i!;:"t  rxf  rii'XH  iy3"i3'7>!Dny 

■■T    tiD   lyTNiiyj    D^ypMiujy   lyrn   iix   rs>Kn   D^nxj"'?  >t   iid   lynxnyj    i:'7yp''iiDjy   jyj"r   jik    i'^xh    B"t:isJ"'7 

■KJiK  nya'jyt  lyi  .j'k^kd  D"m<:"'7  nyi  jid  jyujKp~i3KD  •njts  lyi^yt  nyn  .ftt'xis  D"[;nj"'7  lyn  lis  lytJisp^nsND 

nyn   u^q  jyiJiDnyn  i:j"n  fs   ■'jyt:»t  Tyi:yDKa»  nymn'3  lyn  en  jyiJisiyD  uj"n  t'K  'jye't  lynjyDKB'  nyu-iifj 

y^N   iiD    DDjyi  Tyi  is  unyDE!  jik   >:nddi<p  d"^!!!:"^  y'7K   nn    UDjyn  -lyi  is   unyeti'   iiw   'JKSttsp   s"t:s:"'7 

Bun  DjyT'BDpy  nnu'  35  ■'ii  nnyn  .lya^'nayj  d^uni"^  ukh  BjyTBopy  -inhc  35  'ii   inya  .lys'insyj   b"bi<j"^ 

TD  j''D"3  T'K  DKii  ^"psKDr'K  M  s"dk:"^  TV!  jyayiyi  I'B  ru":  fK  DNii  u"pBKB3"K  'T  b^bk:"'?  lyn  jysyjyj 

■Kiiyi  ODKDnyD  t'x  j:iu"s  votaiv  n  o"t  .n^mx  yon  -xiiyj  udxbtdb  fx  3jib"s  yt:ti'-iy  n  fM  .u"3tk  yuij 

■yn  ?iK  DjjiTDNTQ  n  tx  jko  k  "^nyn  aw^i  aniii  ,^v-\  -yrs  jik  D:i3iT'3!<nB  ■-:  ts  jkd  n  "siyo  bb":  unya  jyi 

nyt3''K  iy:"t  ys'jyii  nyivmy  n  jik  ,ty3Ji'7"u3><  yii'^'^xp  lyKi'x  jy3"t  yi^yii  nynrsny  ■>!  tix  ,iyj:i'?"U3x  yt^'asp 

(In'o  /'»iH(  Leaded) 

rtyipfsnDsyoTJD^^^s'unnmjnaxxK 
nB'ipfstiBByDtJD>2^3''Dnnn"iJ33xsx 

$1234567890      :.;.'•!?()"—„-"  11 
$1234567890     :  .  :.'•!?()"  —  „•"  11 

Matrix  Information-  -Will  run  in  lower  case  side  only  of  90  channel  layi'ul     Si/e  of  fiKiires.  .0415;  comma,  period  and 
thin  space,  .0277.  LeiiKth  of  alphabet,  75  points.  Code  Word:  Zavru.  5A34. 


11    POINT   HEBREW  No.  2  with  BOLD 

(Two-Letter  Matrices) 

lai:  v\'72  T/J^'T  Dsn  ^''•'^fpivn  is'-d  ^v^i^V^  t^'^  1''  iVP  ^^y^  nyiiyiND  ~i>n 

"lyi  I'lS  ^yt^•''3s-lv^vn  yQiyDynjiyEs  '?y^2  ^i  ry^"""!  T/^yp  "l^i^'  I'l^  ^^'^^''n  T^  "v^"'^ 
ly  .niaDTirs  nyi  ps  N''nj  lyi  t-'s  :^'^!fpiyn  lyo-'Ti:!  s  ]i£3  lysstr  lyi  .tssjipix 
,]y:!iTf^^s~iy  y^^iiynns  ^yr^ussis  ,:'''7yi2t:'-iyi:i3"'n  pn  it;  r>2''i'^iy  ^''^  "l"'^  iVP 
-3«:  ps  -lyiN  ^ynymciN  ^t  .lyo^'^n:;  «  ps  ly^i^^  r^'  ^"i^  T''^'  T^'  ly^^'?^-^^ 
lyj^^D  „r«T  rt:*y!D„  lytaiyn  •'i  .r;:n«i  "^  ^""^  t2:sn  ly  Dsn  Dsn  r>T«':'D^iN  i>^ 

■snyiys  y't-s  lyrn  ]yna  ^''^spnyri  ym;i  .t5i;i  V2«^  '^I'l  "lyoys  "ryo^s  s  nyns  :i3p 

ny  .ntiDinrs  nyi  lis  s'^a:  ny^  r«  ^"'''Spnyn  lyo'^i-ia  «  "jis  nyssty  nyn  .as^ipis 
,^y:3Ttr3ny  y;!>myn^'n8  ^y^ttssis  ,:^'ryBtt'nyBrn  i^n  is  ^ys^i'rny  a^:  in  lyp 
•3X3  ^"'X  lyiK  ]ynymD"'iK  T't  ,iytt>'","is  s  ]^k  ly^nss  ]ik  wis  ]""'«  i-'K  lyssasss 
lyr^a  „f «t  rtrsa,,  nyanyn  ^n  ."jy:ns3  is  tD^2  b:«ii  ny  dsii  ds-i  lytK'rD^iK  ]ys 

(7«i.;  P.Jin/  Leaded) 

'''^TiD3S'S|»cipinc'-ipx2yD:a^D''nnnmjn« 
'"'ii53s«V!T;B-intripssyD3»'?rBnnn"tiaK 

(,.:;?!„"-*'—")  $1234567890 
(,.:;?:/"*'—")  $1234567890 

Matrix  Information  —  Will  run  in  90  channel  magazine  in  lower  case  and  cap  side,  according  to  Diagram  No.   13.  Size  of 
figures,  .0692;  comma,  period  and  thin  space,  .03-16.  Length  of  alphabet,  120  points.  Code  Word:  Zeom.   11A108. 


860 


^TRADE  ^1  ^  DTYPE  "'"'  ') 


HEBREW 


6  Point 


8  Point 


ca  iyvi:y3  cj  tm  ;vp  l-jvd  -lyjTynsc  -iVi 
N  -wiH  juy;  t3ij  r'i?a  rvJ'M  dsii  wpiyii 
tyno  vvp-yii  yuu  .uu  )•:><:  'ii  tvdv;  "-yD'^ 
lyjyp  TIN  tiK  D]"n  ns  iyt."'jD-iynyn  y^s  iy:'i 
nyi  ns  iyt."'':DTyTy2  yuiyDyi:TyE  'ry'D  'i  :y;'n 
T'K  wpiyii  tyoma  (<  ns  lyQKt'  ^y-|  .asjipiv 
•ny  D'j  T?  typ  Ty  .■'■it:Dn;'K  tvt  iid  k'sj  lyn 
-^y^'-lB  ;y-i'U2STS  .V'yD-j-iynj'n  ft  ix  iy3M? 
IiK  t3-is  p'N  p«  ty;t>03S3  ,iyj3nrB-iy  yvT 
r'«  -lyis  :vnynD'iN  Tt  ,iyn'Mis  n  i'k  ;y:TS3 
IV  D'j  DJ^n  "ly  Dsn  dst  lytst'DMN  ;yv:x3 
■sr''?,,  tyj"o  .,rxi  PC'(<o„  ^yD^yl1  'i  .lyansn 
VJn  ^''ii  ,u^yn  ^yv:KJ  nyi  lya'K  ..vhi  e"d 
tyrM  vst  i't'Ko  jya'^ij^sDiy  ns  tyo:yoy:'y 
tiN  i'C'No  s^'DBJ"?  nyi  -I'D  ry-snya  iycsL-y: 
iyD:Kpn3ss  'i  he  lyisnyj  u5ypMiD:y  ;yj"i 
■TM^jfiijTs  ly^^yt  nyi  .pl-no  s"usj"?  lyi  pd 
o'n  lyTJmya  ui'^n  i'«  ':yt;'f  -iy-i:yDt<;;'  nyo 
DDjy-i  Tyi  IV  unyoi;'  iix  'jndosp  b^us:"?  nyi 
nns'  35  Ml  -inya  .nysM-inyj  d'^usj"?  y?»<  ns 
'T    s"usj''?    Tyi     lyayjyj    osn    Djyi'BDpy 

Tyi    I'D    J'U''3    t'K    DSn    D"PD(<Dr'K 
f  rrtM  I'oint  I.t'adeil  > 

'MiBaKxvtiimnL—ipvsyDJD^a'unnmnN 
.t;i2:'.4r.(i7siio 


Matrix    Informafiun      Will    run    ni    (n\) 

or    Inwer 

a^e 

side  of  90  channel   layout.    Size   nf   fmurcs. 

.04K4;   CMM 

ma 

period  and  thin  space,  .OJ77.  Length  iii  ;ilph 

il..-t.  .x;  p,,| 

nts 

Code  Word:  Low.  6A17 

ir^i:;-:  c:  I't   lyp   vvj\2  '\•;:•^',"iHr^  -;n 

■piyn  ytai-i  .qij  pNj  ui  -lyoya  ^j?di:  n  t;-tk 

lft2-iyDy-i;nVB  ^ys  n  iy:n  ij,>;yp  imn  V'« 
115  lyDKB'  -lyn  .t:B:ipis  lyi  ^is  iyB'i:E-i;nv: 
-:'K  T^n  ;iB  «>::  lyn  tn  ;"sp-ii,Mi  lyD'n.-  n 
1"T  IS  lyzM—iy  Bi:  Tt  jyp  ly  .nt2C-,-i 
■:'Biy  j?;!'TiynnB  lyi'tiexiK  .^'^i'titrivt^-'n 
lyjiKn   pn   ciN   ]"N    I'N   iv:ko;k:  ,i;'.'i;n 

I'N  lyTK  Ivni'TICMN  T't  ,lVt:'nTi  «  ]'K 
TV  D':  t3.1Kn  iy  Dljll  CKT  lyiN'^DnN  ivviK;: 
iy:'u:  „]*Kt  p^-sa,,  nyQiyn  n  .ii';.T(<; 
,Q^j,'n  -ii'i':t<;!  i^'i  liO'N  ,.!'?<'  S"'.:n:"-„ 
pti'KO  iy:in;^NB-iy  JIB  U't::yr3;'?;'  v'n  """i 

-!<:'0    -Ijn    TB    1V1«TI"-'    lyENC'V."    IV-"'    i'«<' 

linNny;!  t3'?ypmto:;'  i;*:"?  iin   prxa  b"q 

r/7c..  /'..Ill/  /  r,li/r,yi 

<MiB3!<Ki>!iiD-in!:'npsBVD:n^:'t:np.m.';iN 
$12:545078!)ii 

Matrix  I  n  i  uhm  at  ion  W^ill  run  in  tap  tn  low  rr  lase 
side  of  Vl)  (liaiinel  layout.  Si/e  c.f  tiKures.  .()?9;  comma, 
period  and  thin  space,  .0295.  I-ength  of  alph.ahet.  93  p(jints. 
Cnde  Word:  Iav/x.  «A71 


HEBREW 

9  Point 

-ijyD  o'j  TM  lyp  t^'Jyn  -lyjiynj^n  nyn 
Di:  rM^3  tyj^n  Df>Mi  3"vp-iyii  d^d  ty:»' 
.D1J  r^Nj  Ml  -lyoya  ^yon  «  -|y^^^  ai:yj 
-^jDiynyn  y^^<  lyjn  lytin  :i"vpny'ii  yoi: 
:'yQ  n  lyn  lyjyp  t-ix  pn  or'-n  ps  lyc 
-IV  nyi  pD  lyr^jsnynyn  ytinyoy-inyD 
j^^vpnyn  lyo^n:  ^  pa  -lyct^t;'  lyi  .ddjip 
lyp  ~\v  .noDHJ^N  ^y^  ps  N-inj  nyi  t^x 
,r^yot;nyoj^n  pn  w  IynM^^y  o^j  nn 
-Dj^j  ,iyjjnjiQ-iy  y^mynna  iyT't:Q{;5nx 
s  px  \v^~\^■^y  pN  \^~\^  p^N  I'x  lyasin 
iyvjs:i  px  lynt^  lynyniDMx  in  ,iyD^Mi\' 
"ij^a  IV  D^3  tijxii  ly  D{?ii  Dt<;-i  Iyr>jt^DMN 
lyr^o  „rxt  prxn,,  lyD-iyi"!  n  .iy:i 
,D^y"ii  nyrjx:  nyn  nyD^x  „]'xt  s^dj^':^^:',, 

,  /;.v  /'cMiK  I  r„d,-dl 

r^in-incnpVDyDjn^3^unnmj3N 
.$1234567890 

Matrix  Infukmai  ion  Will  rvni  in  ( ap  or  hnver  tase 
side  of  90  channel  layout,  Si/e  ut  Iikuics.  .0692;  comma, 
period  and  thin  space.  ,0.^4(..  Length  ul  alphabet,  106  points. 
Code  word:  Lusi.  9A'9. 


No.    2 

1  1   Point 

-ya  D^j  "in  ]vp  tyjyo  lyiiyisD  lyi 
T"'i'?n  ^yr''?  Dsn  j"'"'!fp-iyvi  q^d  y;'r^ 
^Vi  lyoyn  'pyo^::  s  lyis  :"ir;:  u',: 
]yjn  ly^'J^  :"'"':fpiyn  yi^i:  .au  r^^'^ 
T'ls  ]1N  d:i''M  ]is  ^y•L^•"'JS■^y^y2  yrs 
-yn  yQiyoy-iJnys  t'y^s  n  ;y^'~  iV^VP 
lyi  .Dsripi^  lyi  ;is  lytr^isnyi 
lyi  T-'S  j^-'^fpnyn  iyD'"n:  x  ]i2  nysst:' 
iD'-i  I'T  r;p  "1/  .n'liD'itJ^s  -lyi  ]12  s'::: 
-DSi«  ,:''^yi2tr-iyt:rn  ;^n  vi  ]y2^i'?-iy 
-DNJ  ,'iyj:nj''Siy  ymynnE  lyi^u 

.  /7(V  l'oi«t  I  riulrJi 

)*ciPinD-ip"i3yciD^D''t2nTim:2s 

$1234567890 

Matrix  Inhikmuion  Will  run  in  c.ip  or  lower  rase 
side  of  90  ih.mnfl  layout.  Size  of  figures.  .Ob'i2:  comma, 
period  and  thin  space.  .0346.  l-enulh  of  alphabet.  120  points. 
Code  word:  Luro.  11AJ7. 


861 


(   "LINOTYPE- k) 

12    POINT   HEBREW 

—1^2  ^j;^2  n  lyri  ipjj;p  i^in  i%s  :^:''n  112  iytr^J2ij;-ij;n  y'^s*  lyn 

l^n^i^iy  t2^i  l^T  lyp  ij;  /TL^Dnrx  ij;i  p^  x^n:  lyn  t\s  r'':ipipm 
-DXi  ,lj;:iTir2ny  vv"nynn2  ]j;T'tD2.six  ,r'^vDDnj;t3rn  r*  i^' 

-.siiy:  ij;2st:'5;:  ij;r^T  i\st  r*^i<^  ij;2^^i^'^i<2i3;  112  ip'tD^pap'Tj;  v'?iS 
n  i'i2  ]j/nj<nj;i  L2!^j;p^nt3:ij;  lyr^T  nx  r'^^^s?^  2^^t2s»3^^'^  lyi  t2  ]y"i 

"^^n23«8rnpinti^ip^'2yDjt2'^D^tDnnm:in.s 

$1234567890 

Matkix    I  Nir>KMArioN      Will   run    in   cap  tn   lower   case   side  nf  90  channel   layout.    Si/e  of   figures.    .08.1;   comma,   period   and 
tliiii  space.  JMiS.  Length  of  alpliahet.   M*J  points.  Code  Word:   I.uax.   12A79 


16   POINT   HEBREW 

li;c*^:^ij;-iyn  y^s  tpn  lynr^  r^^^^iyn  ym  .ra  ris*: 
yDiyDyi:iys  ^y^s:  n  lyn  ;y:yp  "'vs  n«  t^^'^n  ns 
■^n:  s  n^  iy5:sD*  iyi  .t:£:ipi:i  lyn  n^:  !yir^:siy-iyn 
lyp  iy  .ntoonrs  nyi  ns  «^n:  lyi  r«  r^^ipiyii  jyo 
■T1S  lyTDs^sns  .r'ryDt^nyDrn  m  i:^  lyn^i^iy  m  ti 
iy:isD  ns*  ^is*  r's*  r«  iy^s*!::Ds:  ,ty:i^nr^iy  yniy 
■s'TD^is  ;y*^*ji<^  rs*  iy>*  jynynD^is  Tt  ^tyto^'ii^i  s  ;\s* 

(Fuin  Foint  Lriul.d) 

^^iiB3SsrsiiDincnp:i£yD:i::'?^^Dnnm:as 

$1234567890 

Matrix    Inkokmation — Will  run  in  cap  or  lower  case  side  ol  90  channel  layout.   Si/e  of  tigures.  .0^68;  comma,   .0519;  period 
and  thin  space.  .0484.   Length  of  alphahet.  1H3  points.  Code  Word:  Loin.  16A5 


862 


18    POINT    HEBREW 

ly^i^vn  L3^i  "i^i  lyp  c*:yj2  nyry-iSc  nyi 
^yifcit  jiiy:  tois  n'?^  lyr^T  Dsn  r^":ip^i/Ti  l:'12 
r^irp-iyiT  yt:ii  .:2iJ  r  jn:  ^n  lyoy^  ^yo^z  x 
n«  tsr^n  ns  •yi^'^JDly-[y3  yr^  lyn  iyn^s 
"y2  y-LDnyoyninys  "l^y^s  n  lyri  ly^yp  I'lx 
ns  nysN*^'  lyi  .tssiipi^  nyi  ns  lyc-'^JDiyi 
TN  lyi  n£  «'^j  nyi  r«  r^":ipnyn  'yD^-n:  wS 


/7.',.  /■..Ill/  ;  ..i.i.di 


rT^np"i£yD3D'?D'c:nnm:2K 

$1234567890 

Maihix    Inh.knt  MI..N       Will    u.ii    ni    .  .ip    -nl,-   only    ..i     /o    ,  IkumhI    l,v..nt      s,,.    -1    limiK--,      11117;    ...,ii,ii.i.     »WI.'.  ,    |.cii,„l    and 
lliiii   ^p.i.f.    Jl-S^t.    leiiMlli   ..1    .ill.h.il.cl,    J17   p.iints,    (nek-   \V..i,l      I. no     1  XAX.1 


28    POINT    HEBREW 


$1234567890 

M.MHix   Inmikmmio\       Will  run  in  r.ip  -,uli-  ol  72  tli.iniirl  layout.   Si/e  of  tlgurL-s.   .Jl>7.>;  ^oinnia.   pt-uoil   .lu.l  thin   sii.ue.     (IS.I. 
l.i-iiKth   ol    ali)lialu-t.    ,nx   lioiiits.    (  ocU-    Woul.    l.utR.    J8A17 


863 


('  "LINOTYPE     0 

36    POINT   HEBREW 


ta^:  "i^";  tvp  s^ovd 


(Eight  Point  Leaded  I 


Matrix  Information-  Will  run  in  special  36  channel  Hebrew  layout.  Size  of  figures,  .3873;  comma  and  period,  .0968;  thin 
spaLu,  .0277.  Length  of  alphabet.  574  points.  Code  Word:  Luez  36A67 


864 


14  POINT  HEBREW  No.   3  with   ITALIC 

(Two-Letter  Matrices) 

r^^^RiDii  u^n  ir:^i]ui  id^j  tt  idr  QJJun  iDJii3i?^n  iut 
.iDU  if]^J  ^n  lUDm  "^UD^i  ^  im^  juuj  ui;  n^n  iuj^^t  d?^ii 
n^^  ^3r'^\  lis  luoj^jgnuirn  d'lR  wi  lunn  j^^i^riuh  uuu 
119  luiD^jgnuirn  ui]iUDri;iiug  ^u^g  ^  iuj-'t  idjur  tin 
in  r?^  j^-^i^RiDn  lUD^n;  j^  iig  ing^uj  nui  .ugjipi:^  iut 
■]^n  i"T  i:^  lUTi^'iu  iD^j  TT  irp  iu  .nuDiT^N  1U1  ng  ^^nj 
'Rr]3^]  ,liij]iij^giu  umrnng  lui^ug?:?!^  ,;^^ruQjii)u 

r^''±\l^^\\  )3^T^  \^^"\i^i  )3-^i  Ti  \^\2  ^:i^T^  i^i"\^i^t^  i^i 
.MiiJi  Y^m  '\\  1^13^1  ^^T)-^!  ^  1^1^  ;"\i^A  ^3^A  ri'^i  \^r"^-\  li^Ai 

\AQ  \^ii3";\QiiiiDi  ^\3'\^i3^'\:iinQ  ^^^9  ^1  \Dr~\  \^i^\]  t'\^ 

"rr\  v^"\  1^  \'^:c^\^^^^  )3^:\  T"^  \^\^  ^^  :^x\T^^^v^  ^^^  w^  t^^i^ 
"^\^3^i  A^^:^'\irEii^  uninii^'AQ  \d-\--09^i^  ,r^iiYiii3-\^\3 


/li',^   /'..,„/    /  ..n/,,/. 


■'■'iig3?:?^^lfqiDintDiR:^gDDjn^D"'iDnTinijn^^ 

$  1 234567890    $1 234567890 

Maibix    Inh.kmaiiiin       Will   run   in  tap  or   l.nvcr  case   side  iif  '«)  thannel   layont.    Size   of   hgnres.    .l)Vf,8;   conuna,    peiio.l    and 
thin  space.   .1148-1,    l.cnKtli   .d'  alphal.ct.    170  poinis.    Code  Wnid;    Zalo.    MA168 


DISPLAY    FIGURES   FOR   HEBREW 

2nA7  IIel.r..«    (oiidc-iiscil  ,!UA1-1I   Hcdn  cw  (  ondc-nsed 

1234567890$.,:;?!  1 234567890$ .,:;?! 


28A"'  Hebrew  Coiidensetl 


,V,A'.7  IIe;,rr« 


123456789$.,:;?!      1 234$*,::?! 


3CAy  llelileu    loMdeMsed 


4JA>''  llel.r.u    (   ...inlensed 


.,:;?!    123456$.,:;?! 


865 


(■ 'LINOTYPE^ 

18   POINT   HEBREW   No,    3 

iu:^i]ua  u^j  TT  lUR  uj]un  lujiuij^n  in 
jijuj  iDiJ  Till  iu]"T  Df;?n  ;":^i?iun  id''T] 

lis  ircu'JEinuTun  viR  wi  lunn  r^i^j? 
■uumg  iv's  ■'1  lUj^T  iPJUR  tin  iin  iD]"n 
1U1  .ugjiRiH  lUT  lis  lutu^jgnuTun  uidiud 


/;c,.  /'oiH/  I  ,a,l,-J' 


"ngH^^Nfqim 

$1234567890 

Maikix    iNnikMATiuN — Will  run  in  cap  side  only  of  90  channel  layout.  Sixe  of  figure  1.  .1107;  ^  to  0,  .1J45;  comma,  period 
and  thill  space.  .0622.  Length  of  alphabet.  233  points.  Code  Word:  Zamu.  18A297 


18   POINT   HEBREW   No.    3    ITALIC 

J11BJ  \iA3l  V\11  \ai"T  TJI^IA  r''^\2"\^A'\  )3''T1 

\AQ  \D\i3''i3"\i3ii)i  ^li^  \^n  \^T\\^  ;i"^\2 


(  T-!fo  I'otiit  I  radi-Jl 


$A  23456"?  890 

Matrix   Inkirmation- Will  run  in  cap  side  cmly  of  90  channel  layout.  Size  of  figure  1,  .1107;  J  to  0.  .1245;  cuninia,  period 
anil  thin  space.  .0622.  Length  of  alphabet.  233  points.  Code  Word:  Zaod.  18A299 


866 


(LINOTYPE-   0 

24    POINT    HEBREW    No     3 

ID"-]  TT  \D\2  QJJUn  lUJIUTfj^n  1UT 

"Tin  r'^\2im]  pidi;  .idu  fj^;i  '•n  ir 


/;.■-'  /'MiH?  /  ,  ,1,1, , I 


$1234567890 

Mai«i\    Inhikm  mi.iv      Will  mil   iii  .  .ip  snl.-  .,1  7.'  ,  li.inii.-l  l.iydiil     Si/c  ul  tiKUrc   I ,     I  (x  I ;  J  I,,  li.     It,/,;  .(njiin,,,   p.-HM.l  .mil   ihiii 
spii.t,  .IW.v   i..-imlli  ..I  ..Ipli.ili.'l,  J'ly  pmiilv    (  .iilf  \\Mnl     Zaw.  _'4iJ-)9 


24    POINT   HEBREW   No.    3    ITALIC 

"0":  Tl  \D\2  U33DT^  IDnUl^T^  lUl 


/;,-.  /',',«(   I  ,'.i,l,',l' 


$1234567890 

Mmkix    Inh.um  viHiN      Will  mil  in  cap  siik-  m   7.'  ,  li.iiinrl  l.iy.nil.  Swv  ul  liijule  1.     iJ.SJ.  J  tu  U,   .lr,(, ;  ^,.iiuii;i.   pi-lii.cl  ami  Iliin 
sp.uf.  ,(Wi.   l.tiiKlh  III  .iliih.iliil.  -"'X  points.  Curie  Wind:  Z.Mih.  -'4.-A-'.^l 


867 


(   "LINOTYPE"    ) 


6  POINT  HEBREW  with   ITALIC 

(Two-Letter  Matrices! 


O'B  ivsnya  15':  Tt  typ  ti':vo  ijctvtso  mi~ 
s<  -\in^  jijyj  Du  tM5n  iyj^i  dsii  wpiyii 
lyno  :''\-p"iyii  you  .ci:  r;KJ  mi  ivdvi  5yc'; 
iy:yp  imk  iii<  cj^n  tiD  iy!;":Dnynya  y^x  lyrn 
nyi  nn  lycjeiyiya  yuTynyinyD  ^vd  'i  iyn 
t'«  j"spnyn  iVDM-ia  s?  iid  nyos?!;'  lyi  .ddjipii; 
■ny  t3':  Tt  lyp  ny  .'todi-ij'n  lyi  ns  N'a:  nyT 
"lynns  ly-i'Dssis  j'^yucnyDrn  i^n  n-  iyan? 
UK  ens  i"N  P«  iyaxnsu:  ,iy;jnj'Diy  yri 
!'K  nyis  ty^y^^D'^N  m  ,;yD"nv  k  i'k  iyns3 
n'  D':  DJN11  ny  dbii  dbt  iytsJDMK  iyv;!<; 
"BJ'''?.,  ;yo"o  „rsi  I'csd,,  lyoiyn  n  .lyjTSi 

(  Two  Point  .Leaded  I 

'nia3SNr^iDim:npvDyDJo53'Dnnmjat< 
$ii;;ur)G7syo 


Q^n  ivi!^:va  c^j  iM  w?  ^ivo  ■\v:^V■^«;n  tvt 

ivno  r^-ip-ivii  VCM  .Q^:  v:s2  ■'■i>  -ivova  "rvo^a 
1V3VP  IMS  us  Qr->n  us  w^M^-iviva  v'js  ivim 
■\v-\  us  \vw^itnvnv3  yQ-\VDv-\nvs  1'V^Q  m  ivj^i 
OS  r'''sp^v^^  ivdmtj  s  us  -\vss\:'  ^v■^  .cs3^p■^'i 
nv  Q^:  "iM  ivp  "^v  .MOD>ij^s  ^v^  \-;s  k>3:  ivn 

•lVn''"\S   \V"\^C2H"\S    ,5'''7VQC-\VQ1M   UM    A'S   \V2M^ 

us  Q-\»  u^s  US  iV3si:3«:2  ,^v:3^^:•'S-\v  vim 
us  "WIS  ^v^v"\^DMs  im  .^vo^ui's  s  us  ^v:-\s3 

11J     1212     QISAA     -\V     Dt?'\'>     DS"\      1V1«;^DUS     1VS2Si 

■»5:ii'?„  \v:iio  „vsi  \i\i'sn„  -\VQ^v^^  m  .iVi">S2 

'  Two  Point  Leaded) 

11^^s3SSYn^mr\^:'■\P'ssvo:T2^31Q^um■J3K 

$\234561890 


Matrix   Information  -  Will  run  in  cap  or  lower  case  side  of  90  channel  layout.  Size  of  figures,   .0484:  comma,   period  and 
thin  space.   .0277.  Length  of  alphabet.   86  points.   Code  Word:   Zaki.   6A290 


Ijj^fnvn  ts'j  I'T  lyp  tpjya  lyjiyTso  lyi 

-pnyn  ytau  .tsu  vjnj  m  tjjDya  'jyon  n  lyiK 
E:"n  lis  lytr'iDijfiya  j??n  ijr:n  ijfiio  ji's 
jjBiyDyiJiys  bys  n  ijfJ'T  lyjyp  "imk  iin 
lis  nyBNtr  -ij?t  .tasjipis  lyi  lis  lytr'^inyiyn 
-;'«  -lyT  lis  N'a:  lyn  t'n  .u'siyn  iircnji  n 
1"T  IS  lyan'^ij;  bo  ti  lyp  ly  .nBon 
-i'Biy  yj'Tiynns  iy-|iBS«TK  .j'^yutriyuj'n 
]yj-i»<:    lit*  E-iN   T'N   I'N   ly^Narij;   .ly;:!! 


8  POINT  HEBREW  with  ITALIC 

(Two-Letter  Matrices) 

V;"i'i^a  u^l  "\M    ^^p  ^5^12  n^5'^^3^i<;n  '\^'\ 

-p-\^3u\  ^Dii  .DM  vi*?i  ^■I'i  n^D^i  'r^jD^a  s  n^jns 

<;o-;^D^;-\i-\^;s  "j^^a  ^i  'j^rT  '^^3l^3p  IMS  ps 
pa  i^asn)  n^jn  .uai'\p'\'s  n^ji  \ia  ^^3<0Ma-iV"i^a 
-i'K  n^jT  iia  s^ai  -i^;n  rs  i^^^n'^ii  i^dm-^i  x 

VM     -l-S     ^^jaM'?^^    UM    IM     \^p    ^^     .^nUDIT 

-ra-i^  ^jjMn^ni-ia  i^niuaxis  ,ii'7^3u^-\^am 
"l^nsa    \is  u-i«   \iis   v*^   ^^asoasi  ,v;ii'm 

't^v<i  Point  Leaded) 


nt  Leaded) 


'nE3NKT=i|DinB-ipsByD:r2?;n:nTim;:!< 
$1284567890 


iM'\aas«Yt\iDin'0-ipTJ3^Din'7:iunu,n-\ia4< 
$1234561890 


Matrix  Information — Will  run  in  cap  or  lower  case  side  of  90  channel  layout, 
thin  space,  .0295.  Length  of  alphabet,  93  points.  Code  Word:  Ziog.  8A408 


Size  of  fiKures,   .059;  coinnia.  period  and 


9  POINT  HEBREW  with   ITALIC  No. 

(Two-Letter  Matrices) 


-'\:V2  D'j  in  ivp  E'jyo  lyj-iynt^o  nyn 
01J  TM>3  jyj^n  D«ii  r'-vpnyii  d^d  lyv 
.uu  rJSJ  ^n  lyoyn  ^yo^n  s<  -\v^^  juyj 
-"ijD"iyny3  v'?^  lyn  lyno  v^vpiyn  yoij 
n  jyjn  lyjyp  tmn  px  uj^n  pa  jJ't." 
lyn  |"iD  tye'"'jD-iy-!y3  yonyDy-ij-iys  ^y^s 
-piyii  lyomj  «  pa  nyaj-sc'  lyn  .odjipiv 
"ly  .noDnrx  nyn  lis  n-i^j  lyn  t^n  j^^v 
-ytDL'nyoj-'n  pn  iv  lynn^iy  u-'j  nn  lyi^^ 

(  T-M  Point  Leaded! 

r^ID-inK'npveyDJD;'3"'onnn-iJ3N 
$1234567890 

Matrix   Information — Will  run  in  cap  or  lower  case  side  of  90  channel   layout.   Size  of  figures.   .070;  conuiia.   period  and 
thin  space.  .035.  Length  of  alphabet.   107  points.   Code  Word:  Zakv.  9A110 


'\^»^   \in    l^A    \B\}    \B^B\i    "\Bn»lHT^    1\)1 

.■Q\i  YlHl  '\\  "\\)Q\):i  "^BXl^:!  H  "\\)1H  IMBl 
"MB"\\)1^1  \)1H  \\)V1  \B^\ia  r'^5"\»AA  «^3M 
M    \\iY'\    \\)\M    V\^    \AH    WVn   \\9    \^\a 

^\)^  \\^  \\)W\^^\\)^Xl:i.  b\1"\bt3\)1i"\\)3  'j^''^ 

"\\)    .M)3lS\irH  1^1    \A9   H'lil    "\\)1   VH  i''''!i 

"\)Vi\ai\)\ivn  \"A  \^  x^m'^'i^  \3n  v\  \\)\} 

(  I  wo  Point  Leaded) 

$1234567890 


868 


(.  R  0  LINOTYPE  "-) 


12  POINT  HEBREW  with   ITALIC  No.  3 

(Two-Letter  Matrices) 


ij;t  112  lP*'Lr^:2iy-ij;n  v^^J^' 
-^n:  s  ]i2  ij;2«tr  lyn  .t32Jipn 
112  s^n]  ij;i  r«  r^:ip"i:;ii  ij;c 
13^]  1'^  lyp  ^V  .'ii^cnrx  ip"i 
,r'ij;t3t^nyDrn  r"^T  i:i  iyn^i!'iy 

r  I  7ro  Point  LcaJrd  I 

n'iyip^2j;Dj?3!5D^:Dnnn-iinx 
^^ii2ns\srriiD-i 

$1234567890 


T1  \^\2  U31DTi  i^n^iN:T\  1^1 

"Di  ^^^  inn  \Di^T\  r''"ii\2'\D)A 
■Q^:\  Ti  \^\2  1^  .^I'QTinrt^  i^i 


/71V1  /'oLrl  I  rarlrdi 


$A 234561890 


Matrix    Infokma  tidn    -Will   run   in   cap  or    lower   case   side  nf  90  diannel    I.'tyut,    Size   of   tigures,     083;  ciminia.    period  and 
thin  space,  .0415.  Length  ni  alphabet.   149  points.  Code  Word;   Zepy.    12A-'J6 


12  POINT  HEBREW  with  HEBREW  LIGHT 

(Two-Letter  Matrices) 

lyr-'T  csn  r-'^ipnyii  D^ts  iy^i:j;a  12^:  i^t  lyp  D'iyts  iyrij;>»i:2  -lyi 
-ID  r^:ipnyii  j;du  .121:1  v:^:.  -^n  nj;Dj;n  ^5;D^n  s  lyis  ii^^:  tsi:  n*:^ 
'?j;^2  n  ipn  ij;]j;p  i^ix  ii.s  Dr^"^  112  ij;D*"^i2ij;-tj;i  jr'^x  i^n  i^r 
.s  112  ij;2{s;tr  nyi  .tD2iipi:j  lyn  112  i:;t:'^32iy-ij;n  yt3nj;Dy"irip2 
"ij;  D^i  "1"^?  lyp  ny  /ni3Di-iJ\s  nyn  112  x^n^  nyi  t\s  ^^^^pnyii  lyD^ii: 
,lj;:iinr2ny  j;mj;.Tn2  iyTi22«-is  ,r^y'LDD-iy*t2rn  n  i^'  i>*n^i*: 

ipr''!  Dxn  r^i^":)nyn  dv:^  ip^n:ij;n  tD"':i  i^r  ipp  ti^:ipr:i  ij;:iip-Txr.:  ipi 
"ID  r^^^"^ij;n  pDU  .dij  i^jk:!  ^n  ipopn  '7j;D^n  k  npiK  Jijyj  toij  ?^T7n 
'pp^D  n  ip^n  ij;:j;p  ■T'lx  ]ix  Dr^n  ib  ipt:^^:D-ij;ij;n  p'pk  ]p3n  ipr 

-IV  CD"'^  1''?  ipp  IP  .ntDDnrx  npn  ii3  xuj  ipi  t\x  r^^piyn  ]vd'M} 
,]vn^'\TBlV  ynnpnnD  ipn^DBNnx  ,r'?j;L:iL:nj;LDri-  i-^^r  n  ]V2'M> 

^^ii2nssTsniD"intyip:i2j;DJX3':?D^Dnnm:n.s 
''^ri33KKT?ilD"iriti^iP^'i^PD^^'^^'^nnmnx 


$1234567890  $1234567890 


Matrix  Information — Will  run  in  cap  or  lower  case  side  of  90  channel  layout.   Size  of  figuies.   .083; 
thin  space.  .0415.  Length  of  alphabet.   149  points.  Code  Word:  Zepi.   12A294 


iiin.1.   period  and 


869 


(   "LINOTYPE     0 

12    POINT   HEBREW   CONDENSED 

5i:yi  m  n^D  lyrn  m  T^'i^^^]]  i3^»  lyxi^ys  12^3  in  lyp  ir:ya  ij?3ips»  in 
ar^n  ps  lyr^siyiys  j;%s  ly^n  lyna  r^^piyn  yau  .du  ns:  ^ii  ^^m  ^yo'^J  ^  iyi« 
lyssii'  lyi  .as:ipi^  lyi  ]is  lyir^isiyiyn  yaiyoyinys  ^y^s  n  lysn  ly^yp  tis  ns 
rn  1^  lyri^iy  d^:  in  ]yp  ly  .niDDiirs  lyi  ps  s^d:  lyi  t\s  r^^piyn  lyo^ii)  s  11s 
lyjisn  ns  Dis  ]^^K  Ti^  iy2«»:s3  ,]yj:Tir2iy  yniynns  lyrassn^  ^r^yDtriyarn 
■isn  1^  m  m)]  ly  dsii  d«t  ]yt«^D^%s  ]yx3si  ]\s  lyis  lynynons  in  ,iya^^in  s  r^^ 
^^m  ,a^yii  iy^3S3  lyi  lyrs  „rsi  s^^iDsr^^,  lyr^a  „rsi  i^ii'sa,,  lytsiyn  ^i  .ly) 
s^^Dsr^^  lyi  Ts  lyisnys  lyssi^'y:  lyi^n  rst  ]m^  iy:^n:%ssiy  iis  lya^yay^y  y^s 
.]m^  s^^asr^^  lyi  ps  iyD3S!pn3i;3  n  ]is  lyisnyj  a^yp^n^^y  lyi^n  ps  rti'^s 
E^^iDS]^^^  lyT  d^j:  lyiiiniys  D3^^n  rs  ^^yiri  lyi^ys^ii'  lyaTr^sns  lyn^yt  lyi 
ins^  35  '])  iny»  .lyriiDy:  s^^Dsr^^  y^s  iis  DD2yn  lyi  i^  tinyajr  ns  ^3KS»sp 
lyi  TS  n^^^:  ;\s  m  ^^^prssr^s  n  s^^asr^^  lyi  iy3y:yi  ^sn  cjyn^sDpy 

(  Two  Point  Leaded) 

^nissssrsiinint^ip^syDia^D^DnnmjDs 

$1234567890 

Matrix   Information — Will  run  in  cap  or  lower  case  side  ot  yi)  channel  layout.   Size  of  figures.   .083;  comma,   period  and 
thin  space.  .0415.  Length  of  alphabet.  110  points.  Code  Word:  Lufy.   12A81 


16   POINT   HEBREW   CONDENSED 

rfD  w']  m  riJpiyiT  d^d  ]]}m^  t^'3  rr  w  m^  is^iyw  "ist 

5?K  w^  ]^w  mm^  m  .^^2  m: '))  isdsd  ?i;d^d  s  15-s  ji^y]  di^ 

"lis  s^D3 1ST  rs  r^:ipisii  w)^:  s  ^is  lysss:;  151  -^^^w  lyi  ns  lu^^'^ 

,W)^'^ « r«  1U21SD  lis  D1S  r's  rs*  ly^sDDS]  .ly^^iirsis  sniynns 
.]^m^  )^  m  m))  15  m  D8T  isrs?D^is  ii):i3s:i  rs  isns;  ipnyiiD^is  rt 
,:353ii  im^y  lyi  i5:i's  .,r^t  s^^Dsr?,,  lyrD  jst  r^sD,,  lyjiym  ^t 

i5t23Kp^iDss '-  ns  ivisiiy:  D?sp^nD25  lyrr  ns  r^^sD  s^^Dsrv^  iyi  ts 

(7m'o  Poui/  Leaded  I 

^^ii52S8r5iiDin^ipK5yD3D?r:3nnm2Ds 

$1234567890 

Matrix   I  nformation    -Will  run  in  cap  or  lower  case  side  of  90  channel  layont.   Size  of  figures,  .0968;  comma,   .0519;  period 
and  thin  space.  .0484.  Length  of  alphabet,  130  points.  Code  Word;  Luis.  16A7 


870 


C-   LINOTYPE-   0 

20   POINT   HEBREW   CONDENSED 

•15TI  D^D  ]^mi  D'3  Tt  w  m^  ip3iyi8o  nn 

■15DJD  5yD^2  8 1518  213:;3  D13  n53 1^3^^  0811 3^^SP 

"siyijD  558  m'l  wo  ri:>'\^]]  5012  .di3  r383  ^n 

■215S  55'S  '1  W^  )m:>  T18 118  D3^^n  lis  15^3 
"82?  in  .DS31P1S  151  ns  15^3515152  5D15D51 
151  ns  8^23 151  rs  3^^SD15n  150^113  8  US  15S 
■15D3M  r^t  IS  152^1515  2^3  Tt  W 15  ;1DD113^8 


(/•o».   /■,.!«/  L.aJcdl 


^^ns288nD5nnEnpss5D3a52^Bnnni32s 

Matrix    I  nkjrm.m  ii.r^       Will    i  ini   in   i,ip  oi    l.nvpi    ,  ase  si.k-  o(  'HI  ili.iiiiicl   lay.nit.    Si/e  .if   tiKUres.    .11117;  c.iiimii.    pri  mil   and 
thin  -.pine.   .I)55.i.    l.fiiKlh  ul  ,il|.|i,iln-t.    I'M  imiiits     loilc  W,,i,l      I   ri,r.   _'nA7 


28    POINT   HEBREW   CONDENSED 

]i2  lyr^sijny^  y^s  lyn  lyno  r^sp 
■yi^iys  5y^2  n  lyn  ly^yp  ti«  ii«  Dr^i 

(/■OH/    /'-INK    /  ,„drdl 

Mairix    Inhikmmios-      Will    iiin    \u   r.ip   si<l(-   mily   of  00  rIi.tiiin-1    l.iyniit.    Si/e   ni    IiKiiies.    .1107;    Loiiitiia.     U/hl  ;    in-inui    and 
tliin  sp.i..e.  .0553.   I.engtli  oi  alpliahel.  236  i.oints.   (ndc  WorJ.    I.'uc  JSA9 


871 


G  "LINOTYPE^ "0 

30   POINT   HEBREW   CONDENSED 

(Four  Point  Leaded) 

Matrix    Information    -Will   run   in   cap  side  of  90  channel   layout.   Size  of  figures.   .2075;   comnia.    period  and   thin   space, 
.0588.   Length  of  alphabet.  2f^2  points    Code  Wnrd  :  L'-ot.  ,^0A14I 


36   POINT   HEBREW   CONDENSED 

m  Tt  w  m  wm  in 


(Si.r  Point  Leaded) 


Matrix  Information — Will  run  in  cap  side  only  of  90  channel  layout.  Size  of  tigures,  .1107;  comma,  period  and  thin  space, 
.0899.  Length  of  alphabet.  266  points.  Code  Word;  Luqa.  36A9 


872 


(troe  LINOTYPE-;) 

42   POINT   HEBREW   CONDENSED 


■p"ipn  yt3U  in  rii{3  ^n 
iPD  p^x  lyn  ijtiD  3^^s 

9  ^rs  'T  lyn  ty3pp  riK 


(Six  P.niU  Leaded  I 


Matrix  Inhihmmiov  -  Will  run  in  sppri.il  .)fi  ili.iiiiiel  Hebrew  biyciut.  Si^e  uf  tiBures,  .2906;  comma  and  periiid.  .0968:  thin 
spate.   .0277.   Length  ui  alphabet.  Jyo  punits.   Code  Wurd .   LuRl.   4JA2y 


873 


C     LINOTYPE  >^"0 

42  POINT  HEBREW  EXTRA  CONDENSED 

ij;i«  213P:  D13  m  ]m 
iii^  Dr^n  ns  ipe^^isipipd 

PS  ^P^S  n  IPn  1P3PP  TIS 


(ii.i  /'."iW  l.iuJcd) 


$1234567890 

Matrix  Informatiun    Will  run  in  Wide  .M  channel  Auxiliary  Ma^a/ine.  DiaKrani  No.  130.  Size  of  hgures.  .249;  comma  and 
I)erHKl.  .1_M3;  thin  space.  .0277.  Length  of  alphatiet.  350  points.  Code  Word:  Zkju.,  42A45 


874 


LINOTYPE 


Oriental  Faces 

On  the  following  pages  are  showings 

of  Arabic y  Armenian,  Syriac, 

Bengali,  Gujarati,  Tamil, 

and  Devanagari 


C-'LINDTYPE-O 


1 

Arab 

\q  and  Kindred  Characters 

[numerically  arranged] 

1 

2^E 

41  . 

61  » 

81^ 

101  ; 

121^ 

141   0 

2  \ 

22^ 

42^ 

62  J 

82^ 

102    . 

122  ^ 

142  i 

3  \ 

23  ^ 

43  iC 

63  ) 

83^ 

103  i 

123    t^r /,.<,. 

143   i 

4  S 

24  ^ 

44  <C 

64  5 

84^ 

104  A 

124  ^/.<, 

144  '^ 

5  '< 

25  j^ 

45  En  Sp. 

65  \ 

85  ^ 

105    'a. 

125  * 

145  r 

6  : 

26  ^ 

46  -. 

66  :: 

86  ^ 

106  i 

126  k 

146  Cj 

7  ^ 

27^ 

47  \k 

67  J 

«M 

107  \ 

127  ^ 

147  X 

8  \ 

28  ^ 

48  ^ 

68  J 

88  J 

108  ^ 

128  ^ 

148  O 

9  i 

29  i] 

49  k 

69  i 

89  J 

109  ^A 

129  i^ 

149    \ 

10  4. 

30  ^ 

50  k 

70  i 

90  J 

110  ^ 

130  PC 

150  *-^ 

11  if 

31    ^ 

51^ 

71   e 

91  « 

111   i^ 

131    j  /;.«. 

151  ^ 

12  ft 

32  i 

52  ^ 

72  0 

92^ 

112  ^ 

132  ^  la. 

152  V 

13  r 

11  \ 

53  ^ 

7Z  . 

93  ( 

113^ 

133  ^ 

153  K 

14  r 

34  A 

54^ 

74  ^ 

94  1 

1,4^ 

134  S 

154  ^ 

15 1: 

35  \ 

55  J: 

75^ 

95  \ 

115    j^ 

135  % 

155  r 

16  -- 

Z6  . 

56  ^ 

75  i 

96 : 

116  y 

136  P 

156  i 

17  i. 

37  i. 

57^ 

77  _ 

97  I: 

117  J 

137  ^ 

157  ^ 

18  ^ 

38  ) 

58  C^ 

78  ^ 

98  >■ 

118  J 

138  L^ 

158  j 

19  \^ 

39  11 

59  a)^ 

79  J 

99  i^ 

119  i^ 

139^ 

159  l- 

20  W 

40  I 

60  J 

80  J 

100  ?t 

120  — 

140^ 

160  k 

876 


.  1 

161  J  h.a. 

184 

209  jc 

234  \ 

258  7c 

282  : 

331  j, 

370  ^ 

162  J  la. 

185 

210  1 

235  X 

2593 

283  ; 

332  4 

371  ^ 

163  -^ 

5= 

186 

211 

236  1 

260  r: 

284  ^ 

2>M  ^ 

372  ^ 

164  i 

187 

212  J 

237  5 

261  J 

285  * 

334  3 

373  , 

165  i 

188 

213  ' 

238  J 

262  Si 

286^ 

335  ^ 

374  X 

166  '^ 

189 

214^ 

239  J 

263  i 

287  ^ 

330  ^ 

375  i 

167  ^ 

190 

215^ 

240  jt 

264  V 

288  d. 

^^^7  ^ 

376  i 

168  V 

191  \^ 

216  ^. 

241  ^ 

265  - 

290  L 

338  ^ 

2,77  i 

169  i- 

192  > 

217  5' 

242  ^ 

266  ~ 

291  ^ 

339  J 

378  Jil 

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Arabic 

M   I'c.nil    I  l-4A(.7)  Coile  wc.r.l.    KiSI 


IX  I'.. ml   ( ISz 


(  i.d.-  \v..,.i,   il,  I  I) 


Point    IJJAl  ) 


( ,_^'  a_J  )    ^U    43  3  ^  \    .^  i  J^\    ^_jL;>    4^U    _« 1   '^  ji>\\    i  Ju_ili  \    J I 


Coil,-  WMiil.    KAl' 


OirV  \     Uti^      -.^         a>   (^,_^JyJ)    p^^lj   43j^,«il   <^$J^\   ^JsL^  O    L    jl   \^y^\   ix^\   ij 


.'■4  I'liiiit    (.MAMS) 


(  <.<lf.  U..11I,   li.l'.N 


;(.  Tonit   IJf>Al  )  Ci.iU-  ui.nl.   \i\V\ 


Arabic  Bold 

5tVX>  ^j^  ^  (i_^y_J)  „^L  rti^  Jill  lJ^  J>-1  ^_io  rt-:5'U  ^1  «i^  »«J1  »i>«3-d!  o' 


14   r.init    I  MA" 


C.de  W..11I.  zn'\n 


Arabic  Old  Style 


M  I'l.nit    ll4Af<''l 


Ccdf  u..i(l.  /li'VK 


oim   oWI^V'  — -W-c-  ^  i^'  (>_-o_j~' )  -r-o   'W_o^!  ^_9j^J-'  ^_i^  4j5''v*  _«I  i->^jJl  iJ^^^Izil  jl 


IS  I'miiiI    I  IXAJ 


I   ..<l.-    U.Mil,    /IIV.I 


J4  l'..nil    lJ4^,Jiri  Ludu  M..1.I,   /!  kAII 

Arabic  Bold  Old  Style 

14  I'niiit   I  14A''l  '  I  "di-  UMi-d.  /INAK 


IX  I',,nit    I  ISA-''. 11 


1  ..de  word.  /lk.\R 


-'4   I'.iinl    IJ4.A.'J1  I  r,„le  «Mid     /I  Kill 


879 


Armenian 

(i  I'oint  Aimeniaii  No.  1  with  No.  2 

J-lLtrUXUJimn'd     du,p,i(,    .*/,    Iiu.pn,^    pu,l„uliu.%us'UuJi^    ^ujI,    I^uj^-    ^ouiuj[,npu,u^^u    lu. [,    ^np&l.^n^:     i^uj [,    itnp6/,^p    uf^u,^    12345 

d'UU"U*bU,MUM1^3   ifiupijp   lY  Ijuipnij    piu|iuiIiuiGui(im|   |iu|i  \\m\l  ifomui[inpuiuit:u   |ui|i   qnpAJifn^  :    ]^iu[i   qnpftjifp    iijtuif   12345 
Matrix  Infortiiation  :  fiAlSS.  Lower  case  alphabet,  141  points.  Figures,  .0484.  Runs  in  90  channel  magazine.  Code  word,  ZADA. 

s  1*1. nit  .\inieni;in  No.  1  with  No.  2 

J-U.irU.hU.>lU.'lh3    J'u.p^p    l/,    liujp.,.1^    ,,..,l,u.liu.'l...A,u.i^    i^u.1,     llu.,r    J„.nu.l,„p....,iiu    i^u.[.    ,inl.lrl.^.n^:    12;!45 

d•U,l^U'^)ll.'^U.'1^8  ifiupi^p  j[i  Ijmpnn  pui[iuiljuifiuiQun  |m}i  Ijuiif  ifoiniulinpuiujtu  iui|i  qnpjrjifni[:  12345 

Matrix  hijormatiun :  8A190.  Lower  case  alphabet.  176  points.  Figures.  .flS.S.I.  Runs  in  90  channel  magazine.  Code  word.  ZADU. 

10  I'ninl  Armenian  No.  1  with  No.  2 

(hlkU  UAtUMU.Ht' O  ifutpq-ii^    s^ji  l^iupnij^  puijiuilj^ui'UuAiuii^  L"' I'  ^""^  if  o tti uj ji n p ui u^l^  u   12345 

d'U.irU.'ljU.^U^hS  ifiujiij^i}  ^|i  Ijuipnq  prnjiuiljuifuufiim  |iu|i  Ijiuif  ifoinui|inpiuujlru  12345 

Mtitrtt  liiho  iinitio}!  _  JOAHt).  l,o«er  case  alphabet.  2\K  points.  Figures.  .Ii69_>.  Runs  in  90  channel  inaga/me.  Code  word.  ZAEB. 

12  I'oint  .Xinienian  No.  1  with  No.  2 

(hlXW U.'hU.^ IX^ h 3    ifujpr/^p     i^fi    Ij^iupnq^   put [tuj I^uj^uj'Uuj ^^   i^uj [i    If^iuil'    12345 

(^Ul^U.'blI.l^U.l^^8  ifmprj^p  ^|i  Ijmpnn^  pm|iuiljuiGm[iui|  |m]i  ijmif  12345 

Mtitii.v  I  njaiinatioii :  1JA1H4.  Lower  case  ;ilpliahet.  J6i   points.   Figures.  .0H3.  Runs  in  90  channel  inaga/ine.  Code  word.  ZAF..L 
18  Point  Armenian  Gothic  No.  13 

duiru^uiimihs  irur'vc  3h  uurna  puhuuu'b  12 

Matrix  Information  :   18A319,   Caps,   tigures  and  points  only.    Figures.   .138.3.   Runs  in   34  channel  auxiliary   magazine.   20  point 
alignment.  Code  word,  ZOEM. 

18  Point  Armenian  Gothic  Condensed  No.  J 

rfu.uu'uaijuijha  uarac  i2h  ijunni  PUhaijuiiaijaL  l  12 

Miiiii.i    hijoi  nuitiuH  .    18A315.   I  aps.   ti.^ures  and  points  only.    Figures.   .08'.v'>.    Runs   in  34  Lhannel  auxiliar>'   niagri/ine.   20  point 
aligtmient.  Code  word.  ZOEF. 

34  I'oint  Armenian  linthic  (  undensed  No.  2 

(fuuumuuuha  irupic  2h  uupn  12 

Matrix  Information  :  .34A9.  Caps,  figures  and  points  only.  Figure  1,  .1107;  2  to  0.  .116.  Runs  in  34  channel  auxiliary  magazine. 
Smallest  slug  on  which  this  face  will  cast  is  28  point.  35  point  alignment.  Code  word,  ZOFU. 

a-uifiiiuhij.hh8  irapo-c  2h  hunn^  p  12 

Matnx  I  >!}oi  null  ion  .   24A263.   Caps,   tigures  and  points  only.    iMgures,   .1107.    Huns  in  34  channel  auxiliary  magazine.    Smallest 
slug  un  which  this  lace  will  cast  is  :!3  point.  Code  word.  ZOCL 


Syriac 


18  I'oint  Estrangela  U8AI67) 


Code  word.  KAKA 


12  Point  Nestorian  (12A22SI  Code  word.  MAZU 


12  Point  Jac.bile  (12A2.M) 


Code  word.  LYOD 


12345  (ib  .jl:^  .Ai..  oMii  r^  i<^:^i  lo^s  .^K-^jii  Lji.a!  ^  .p^  u\  h^^.^ 


880 


Bengali 


1 

in  I'.. lilt  I.iKlit  anil  Bold  (lOAI^n)  rode  wnnl.  ZF.MIK 

5Tf^  asR  isK:<t  ^«M©Ri«i  ^ti^  ^ff  5r?T  sTii  w,  5=r^'(;«T'^^  sTFT^  ssio  st^^T  «;i«(<TT'f?i  isRr5  's'^osa 
frfiv  ifisR  isTC?  5«^«!iHi«i  5F»ttv  5^  ^?r  JTTit  OT,  5n:'i;;«r'?:j'T  sn^  atco  ct^  oi't^'t?  srt?  bs^osa 

IJ  I'uiiit   I  ii;lil  .mil   II. .1.1   il_'A4.1_'l  I'.i.Ip  wnril,  ZIUIH' 

^  ^^  isK^  <[«^Ti3Rr5  w'^w^  ^<  ^^  w?.  m,  ^\^'i[i:'^  kt^  5^10  ^^m  "s^^osq 
JTftv iisR ^rr^  ^sstsiiiK  5^^^; ?^«( ^^^  jnir c^,  jf't^tX:^  sn^  *aio  ^aicr  ^^o8q 

111  r.init  N...  J  Willi  liulil  I'.ice  iNo.  J  (IIIA-ld-t)  t'fxle  word.  Zll'.Ml 

11   Tomt  .\.i.  J  with  Hold  Face  No.  2  (llAUCil  Cide  wonl,  ZIPNO 

IJ  I'oiiit  N.I.  J  with  Hold  Face  No.  2  (IJA-t7JI  Code  word.  /IMI-O 


Gujarati 


12  Point  n2A16'"') 


Code  word.  ZEKTA 


WlM'^L'tHl  "Hi'A'Hi  'Mi4„  ■.HT^-l'l''-l"Hi  ^il  'A-di  '*{[.  '>A'Y'£  a^J-^^i,  '^y>\.  5i'o"Hi':^l  '•'!,'V=:l^  ^-i^M  -^^^aVM 


Tamil 


10  Point  l.iKlit  and  Hold  I10A4R0) 


C...de  word.  Zll.lll 


12  Point  I.iKllt  and  Hold   (1JA446) 


.ril,  ZIKCO 


psfT(^^<oi5i^Lh  Q^a^SL.  Qa=TU2>(SuiTJ'iJbtoSi^Li3'^^(oisTr)jQji}is{>3'<orsT  <sihQuiosBssiujm  12345 


id  Hold   INA2-MI 


nr.l.  ZKNIS 


Devanagari 


881 


fn^cH  ^T f*f^  tvTR  irw^  ^  ^rtr  "^^ t^  srfr  arrji  «i<^*^  ^r^t  ^^^tr  ^jtttt 

JTfq--"qf?rqT  ^  TJVRf  it  ^  JT^  ^T  JHiTO"  t^RW  ^  I  ^;^  JTrT  Tf  #  t^  Tf^ 

it  >ft  ^  Uk^M  ^  fww  3IT  ^*dl  t^  gf  ^f^  ^  HFTT  Mt  fjRt  ^TPf^nf^  ^ 
0[;^  5ltTT  5ftw  ^7T^  ^  I  ^^"^^  f^RT  ^  ^TR  ft  ^T^TT  f  t^  ^  I^  HT^  #f^ 

?T^  IfWTT  ^  ^TR  ^rr >rinT  HFTT  ^  f  I  Tf^  HRT  ^Rcft  f,  TW^  dH^I'd  3TRt 

^iR-  grr  anrwr  fhrr  f  i  ^ir  ^  s^  Mt^  ^^  ^  ^twt?it  ^tt  anrrvr  ftrrr  f  i  f^rit 

^  ?T^  qf^  f^  ira"  3<l4j1lTd  ^  itlK'IHJ"  f^^TTT  fWt  3TTTTFH  ^  cTt  TH  ^{W^ 
7TVERTT  ^T  3ITTTH  ft  '^^T  «ff  I  fi<cA)MMcb  ^R^  jfT^  ft^  5fTf  «t  I  ^T^  ^>T 

r^^K  vft  TR^  ft  ^^RT  %iT  cf4iiTch  tHR  tHR  an^fintcnrt  it  f^^r  ^  f^  ^ 

5r^  f  ^  'f^'  m^  ^  Tnchcri  ^rs=-  '"Deity,  divine"  ^^;;tT^  Theos  arrir  flT  WR 
^  W^  f  I  ^"^^  ^  t^r^t,  aitT^  5r5?  Daughter.  .4>Hffl  r^^cjd^  arfr  fif^d  '^;ffrf 
it  ^5^  ^nTRrlT  "TFft  ^TRft  f  ?  fIV  ^  ^ttrT  *ft  ITTTTH-  ft  ^^^  aft  ariV  ^  5ltTT  llf arf 

Specimen  page  set  in  Linotype  Devanagari 


882 


A  PHONETIC  ALPHABET 

hdscd  iipofi  the  alphahct  of  the 

International  Phonetic 
Association 


LixoT>'PF.  presents  a  complete  and  authoritative  sv^steni  of  phonetic  tran- 
scription to  meet  the  ever-increasing  demands  in  this  important  field  deahng 
with  the  science  of  language.  Linguistic  scholars  have  long  recogni/xd  the 
need  for  standardization  of  symbols  in  their  medium.  The  International 
Phonetic  Alphabet,  as  devised  by  the  International  Phonetic  /Association, 
provides  an  authentic  basis  on  which  to  proceed.  Phoneticians  will  recognize 
the  familiar  chart  reproduced  herein. 

The  list  of  characters  includes,  in  addition  to  the  symbols  of  the  Interna- 
tional Phonetic  Association,  the  most  common  and  widely  used  signs  and  letters 
as  they  appear  in  the  most  influential  works  bv  many  scholars  in  many  lan- 
guages. In  this  connection,  detailed  consideration  has  been  given  not  only  to  the 
chief  works  in  general  phonetics,  in  Teutonic  (English,  German,  Scandinavian, 
etc.),  Romanic  (French,  Spanish,  Italian,  etc.),  Slavic  (Russian,  Czech,  etc.), 
but  also  in  the  remoter  tongues,  such  as  the  Bantu  and  Sudanic  in  Africa,  and 
many  lans^uages  in  Asia. 

Attention  is  particularly  directed  to  the  group  of  independent  diacritical 
marks,  f)r  modifiers.  These  are  intended  to  be  placed  immediateh"  before  or 
after  the  main  character,  a  practice  which  will  make  the  problem  of  composition 
much  easier  for  printer  (and  author)  in  that  it  greatly  reduces  the  number  of 
characters  needed  while  still  offering  broad,  readable  transcription  under  the 
principle  of  the  phoneme. 

For  the  painstaking  care  and  thoroughness  of  detail  that  forms  the  basis  of 
this  work,  the  iMergenthaler  Linotype  Company  acknowledges  its  appreciation 
to  Professor  Harold  H.  Bender  of  Princeton  University,  and  the  man\-  scholars 
he  consulted,  the  world  over. 


M  E  R  G  E  N  T  H  A  L  E  R      LINOTYPE     CO  M  P  A  N  Y 

BROOKLYN,    NEW    YORK,    U.   S.   A. 


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PHONETIC  CHARACTERS  AVAILABLE  FOR  THE 
IPA  SYSTEM  AND  OTHER  LINCiUISTIC  USES 

The  Linotype  system  a/ibodics  a  light  and  heavy  design  of  each  character  on  the  matrix 


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k 

X 

43     \ 

s 

M  ri 

1  (in 

n 
0 

1  111 

i 
1 

I. 'is 

!> 
P 

l.".7 

,1 
5 

171;   n 
n 

i;i4    C 
C 

1!  m 
m 

44     li 

i;3    Z. 

B 

nil 

1  V 

ce 

IL'll 

6 

i:!;i 

1< 
k 

1  .-,s 

e 

177     1" 

r 

i',..-,   j 
j 

7  n 
n 

■jr.   t 
t 

4.-.     I 
I 

? 

IllU 

n 

D 

l-'l 

ii 
u 

1411 

e 
e 

1  .".,1 

i 
i 

1 

178 

1 

111(1    -s 

s 

8     1 
1 

.7     <l 
4 

4.-.     ,1 
\ 

2 

,H4   fi 

1(13 

A 

122 

E 

1  n 

n 

0 

IC.ll 

ae 

17il     , 

1 

1117     Z 

z 

9    f 
f 

28     fj 

4 

47     i 
i 

j 

,s.-,   q 

1(14 

V 

123 

(  c 

ce 

142 

1(11 

ij 

18(1 

liis    3^ 
3^ 

10   h 
h 

..   ct 

d 

48     1 
1 

<;7  3 
3 

si;   V 
V 

1(1.-, 

Ul 
lU 

124 

5 
5 

143 

0 

9 

ii;2 

u 
ii 

181     . 

iin.   -> 
3" 

g 

311     (1 

d 

4,1     .1 
1 

a 

87     1 

1(111 

i 
i 

12.". 

A 

144 

t 
t 

i(;3 

( 

182 

211(1      ' 
1 

g 

31     C 

c 

Ml     A 

0 

8S     C 

c 

1(17 

U 

12(! 

a 

14.". 

(\ 
d 

ii;4 

t 

1S3     , 

2(11      1 

13    J 
J 

r 

1^^  r 

r 

3-     } 
I 

33  q 
q 

34     C. 
G 

r>i    i 

.-.2     '■ 

r 

r.3   I 

r 

70  \ 
\ 

71  1>. 
I 

8!»     ^ 

5 

,1(1    >l 

■.11    i 
i 

ins 
1(111 
11(1 

1 
I 

|- 

u 

() 
u 

127 
12S 
1  211 

SB 

fi 
D 

3 
3 

14(1 
147 
14S 

1 

i 

n 
n 

s 
s 

ii;.-. 

ICf. 

n;7 

> 

184 
18.-.     V 

" 

ir,    r 

r 

3.-,     ^ 

.-.4     K 
R 

-3     C 

•.lu   e 
e 

1  1 1 

Y 

i:tii 

h 

b 

14!l 

z 
z 

lliS 

X 

ISO 

17     '"■ 
f 

3.;   nj 

74     ?' 

■.13    £ 

z 

112 

ae 

131 

(1 
d 

l.-.(l 

n 
n 

Kill 

a 
a 

187 

IS    S 

s 

37     11 

X 

■.14   a 
a 

ll.-f 

f » 
e 

1  32 

g 

l.".l 

z 
z 

1711 

e 
e 

ISS     ^ 

H 

T.,     V 

V 

38    Jl 

",7  e 
e 

7(;  >v 

■1.-,  a 
a 

114 

0 
9 

133 

g 

1.".2 

.■s 

s 

171 

1 

1S!1     '- 

1- 

NOTE:  In  ordering  please  use  form  entitled  "Linotype  ALitrix  Order  for  Special  Characters]^  available  on  request  from 
the  nearest  Linotype  agency.  Be  sure  to  specify  10A472  (Plionetic  Characters)  as  well  as  character  number  and  quan- 
tity of  each  dcsirecJ.  Tiicse  ciiaracters  are  available  at  present  only  in  ten  point  size  as  two-letter  matrices  in  the  face 
shown  above.  Characters  not  listed  herein  (and  not  included  in  '"Linotype  Matrix  Order  for  Accents")  can  be  made  to 
order  at  a  special  price,  which  will  be  quoted  upon  retjucst.  If  there  is  sufficient  demand,  provision  will  be  made  to 
cover  eight  point  size  for  footnotes  and  eleven  or  twelve  point  for  titles. 


885 


Illustrations  showing  the 
general  use  of 

PHONETIC 
CHARACTERS 

i?i  both  roma?!  and  bold 


SPECIMEN    A 

Transcription  of  Victor  Phonograph 
Record,  American  Speech  Series,  No. 
67-B,  Boston,  Massachusetts. 

'wAH  'nAit  9a  'raets  'had  ei  'greit  'noiz 
in  33  'lai-ft||  It  waz  9  'vcri  'driri  oul 
'lai-ft||  8a  'ruf  ler  'in  Sa  'reTin|  8a  'bimz 
^aen  'raftaz  wa  'ol  'ratn|  so  89t  8a  'pleis 
waz  'ra8a  An'seif  |  at  'last  'wah  av  89 
'd33is  'gcTiv  'weTi|  aen  8a  'bimz  'fel  wi9 
'wAn  ''end  on  8a  'flouAJ  3a  'wol  'Juk| 
'aend  'd1  8a  'raets  'hea  'stud  on  'end I  wi9 


specimen  A:  From  American  Speech,  October,  1935;  show- 
ing Linotype  Phonetic  Characters  with  Scotch  No.  2. 

Specimen  B:  From  Kenyon's  American  l^ronnnciatiun ; 
showing  Linotype  Phonetic  Characters  with  Old  Style 
No.  1. 

Specimen  C:  From  Krapp's  Pronunciation  of  Standard 
English  in  America,  showing  Linotype  Phonetic  Cliaracters 
with  Janson  one-letter  italic. 

Specimen  D:  From  "Pronunciation  in  Upstate  New  York," 
appearing  in  Atnerican  Speech,  December.  193.^:  showing 
Linotype  Phonetic  Characters  with  Garamond   No.   3. 


Specimen  E :  Frt 
November,  1921  ; 
with  Granjon. 


II   L'licriture   phonetique   internationale, 
showing    Linotype    Phonetic   Characters 


SPECIMEN    C 
SYMBOL 

[a] 
[a:] 
[ae] 

[£] 
[e:] 

[a] 

[I] 

[3] 

[d:] 

[u],[u:] 

[u] 

[A] 

SPECIMEN    D 

The  vowel  [e]  is  somewhat  less  stable 
than  the  other  three.  When  lengthened,  it 
may  occur  as  a  diphthong,  though  it  is  less 
noticeably  diphthongal  than  in  eastern 
American  or  southern  British  speech.  As  a 
diphthong,  it  occasionally  occurs  in  low- 
ered form,  in  such  words  as  came  [keim], 
fake  [teik],  day  [dei],  and  say  [sei]. 
On  the  other  hand,  it  may  occur  as  a 
raised  vowel  or  diphthong,  as  in  Canadian 
[ka'ne-i-dion],  dangerous  ['dexn[d53r3s], 
today  [ta'dex:],  and  dismay  [dis'mexi]. 
Otherwise  it  remains  stable  except  for  the 
complete  substitution  of  one  of  the  other 
phonemes. 


VOWELS 

KEY 

TRANSCRIPTION 

not 

[nat] 

fast 

[fa:st] 

hat 

[list] 

get 

[get] 

there 

[5eu] 

about 

[a'baut] 

sit 

[sit] 

auditory 

['odi'tDri] 

laiv 

[b:] 

altruistic 

[aeltru'istik] 

trite 

[tru:] 

bush 

[buj] 

hit 

[bAt] 

SPECIMEN    E 


SPECIMEN    B 

SYMBOL 
[P] 

[b] 

[t] 

[d] 

[n] 
[k] 
\S] 

[n] 

[v] 

[6] 

[9] 
[s] 


CONSONANTS 


KEYWORIl 

cap 

cab 

sum 

bat 

bad 

sun 

tack 

tag 

sung 

leaf 

leave 

tooth 

smooth 

pace 


TRANSCRIPTION 

[ka^p] 
[ksb] 
[sAm] 
[baet] 
[b^ed] 
[sAn] 
[tsk] 
[taeg] 

[SAIJ] 
[lif] 

[liv] 
[tuB] 
[sniu3] 
[pes] 


Textes  en  Langues  diverses 

Tenant  compte  des  principes  que  nous  venons  de  poser,  nous  allons 
donner  la  transcription,  en  diverses  langues,  de  la  fable  bien  connue 
Phebus  et  Boree.  La  transcription,  dans  chaque  langue,  est  rigoureusement 
pratique.  Mais  nous  donnons  en  italiques  des  indications  permettant 
d'arriver  a  un  grand  degre  d'exactitude. 

Fran^ais  (dii  Nord) 

L'accent  de  force  tombe  sur  la  dertiiere  syllabe  des  mots  importants. 
—  Lire  Ut-,  Oi-,  Et,  (Et,  5x.— a  est  un  obj-m  reldche.—  x  vaut  r  ou  R. 

la  bi:z  e  1  sole:]  S3  dispyte,  Jakde  asy:ra  k  il  ete  1  ply  fo:r,  kat  iz  5 
vv  cie  vwaja3oe:r  ki  s  ava:se,  avbpe  da  s5  mciito,  i  s5  t5:be  dakoir, 
ks  saliji  ki  arivre  1  pramje  a  fe:r  o:te  s.i  mciito  o  vwaja3oe:r,  sare 
rcjarde  kom  la  ply  fo:r.  ab:r  la  bi:z  s  e  miz  a  sufle  d  tut  sa  fors  ;  me 
ply  el  sufle,  ply  1  vwaja^oeir  seire  s5  mdito  otur  da  kii ;  e  a  la  fe  la 
bi:z  a  rn5:se  a  la  \\\\  fe:r  o:te.  ab:r  b  sale:]  a  kama:se  a  brije,  e  o  bu 
d  (T  mama  1  vwaja5oe:r,  rejoife,  a  o:te  sa  mdito.  e:si  la  bi:z  a  dy 
rk.ine:tra  ka  \  saleij  ete  1  ply  fair  de  de. 


lA 


(Di^e9®6S6n^?w 


(yUi)   |56  7S|   (|oT)   |23t|   (feJ^   |9  012|   (g?5)   |678| 


I    <-^    J 


I    •^-^    $ 


#  b  ti  ;  4  J  J  ft  b  ti  ;  ^P  J  J  #  b 

$  £  ^/  f»=  R  ¥  f.  I'  f;  £  0  c///  C$ 


u-^^^  J  t_t_iur-*- J 


UNOTYPE 


!ift'«s»£^sa^»?»^ 


Universal  Special  Characters 

The  special  characters  shown  on  the  following  pages 
have  been  so  designed  as  to  be  suitable  for  use  with  any 
style  of  face,  old  style  or  modern.  The  lists  of  characters 
required  for  each  class  of  work  and  the  correct  design  for 
each  character  have  been  carefully  checked  and  verified 
by  the  most  competent  of  authorities  in  the  various  fields. 

Mergenthaler  Linotype  Company «  Brooklyn,  N.Y. 


i^mw+mAii^m 


flBilM»^4"i^B) 


,i|b4VA«4>4VAi!)!i 


^  R'  iji  y  t  R^  Hh  >'  X  I?  >$< 

%,  m  ^^>  ((f  #  '/<  %  IT)  %^  @ 


^  a  (§: 


D  ©  (g: 


®®@g@@®®0(A)@ 
DOAVOOanOA 


W^/\\W\y^/\\ 


Universal 
Special  Characters 

SIZES:  Each  character  shown  is  made  in  the  point  sizes  indicated.  In 
those  cases  where  an  inclusive  range  is  given,  the  following  point  sizes 
only  are  applicable:  5,  SVa  ,  6,  7,  8,  9,  10,  11,  12,  14,  18,  24,  30  and  36 
point. 

CLASSIFICATION:  For  convenience  in  ordering  and  handling,  the 
characters  are  grouped  into  various  classifications.  Each  classification 
has  been  assigned  a  triangle  number  which  is  stamped  on  the  side  of 
each  matrix  for  identification.  These  classifications  and  their  numbers 
are  as  follows : 


Accented  Characters 

(Give  triangle  number  of  face) 

Accents,  Piece A440 

Arrows A358 

Astronomical A332 

Braces 

(Give  triangle  number  of  face) 

Brackets A438 

Checker A348 

Chemical A  536 

Commercial A  336 

Ecclesiastical A  340 

Election A346 

Fists A400 

Fraternal A328 


Inferior.     ....     .A406,  A524 

Mathematical A  330 

Mathematical,  No.  2.     .     .     .   A526 

Medical A334 

Monetary 

(Give  triangle  number  of  face) 

Musical A342 

Ornaments  (Dots  and  Squares) 

A460 
Paragraph  Marks      ....    A338 

Playing  Card A348 

Press  Syndicate A350 

Superior A356,  A522 

Time  Table  and  Tariff    .     .     .   A344 
Miscellaneous A  348 


IN  ORDERING:  Be  sure  to  specify  quantity  of  matrices  wanted,  char- 
acter number,  point  size  and  classification  number.  For  example,  if  you 
want  three  matrices  of  the  10  point  plus  sign,  which  is  Character  No.  1 
under  the  mathematical  classification  ( A330),  fill  in  the  order  blank 
as  follows : 


Quantity 

Character 
Number 

Point      Triangle 
Size  A  Number 

3 

1 

10  A  330 

A  special  Matrix  Order  Blank  for  Special  Characters  (Form  818)  is 
supplied  which  should  be  used  for  all  special  characters  except  Ac- 
cented Characters  (Form  821)  and  Superior  and  Inferior  Characters 
(regular  Form  819). 


888 


ARROWS  •  A358 


NO                       CHARACTER               POINT    SIZE 

200  R          ^;,i^    y         5V2  to  24 
?nn  1           ^    (^/^/^        SV2  tn  74 

NO 

206  R 

207  R 

CHARACTER               POINT    SIZE 

NO 

211  l< 
211  L 

CHARACTER               POir4T    SIZE 

^    .          .  0 

0,  V 

^ 

.    .    ,12 

6,  9 

201  R           )))»)  > 

b,  7,  10 

207  L 

^     ■ 

.    .     12 

211  M 

K. 

6,9 

201  L           .,_««(, 

6,  7,  10 

208  U 

t 

6,  8,  10 

211  N 

\ 

6,  9 

202  R            ^ 

...       6,  10 

208  D 

i 

6,  8,  10 

211  P 

\ 

6,9 

202  L           «« 

6,10 

209  R 

6  to  12 

212  R 

— 

8 

203  R           -^ 

.     .     .     5V2,  6 

209  L 

^ 

.  6  to  12 

212  L 

*- 

5"2,  8,  10 

203  R-T       ^  . 

6 

209  R-L-X 

.8,  9,  10 

212  U 

t 

8,  12 

203  L            -<-  ^ 

.     .     .     .     5V2,  6 

209  U 

T 

.    6,  7,  8 

213 

n 

8,  12 

203  L-T        *^  . 

.6 

209  D 

1 

^    6,  7,  8 

214 

r 

.     ^     .     .8,12 

204  R           ^^ 

^^           10,  12 

210  L-U 

\ 
/ 
/ 

\ 

t 

6,  8,  10 

215 

J 

8 

204  R-T        ^^1 

^B           10'  12 

210  R-U 

6,  8,  10 

216 

u 

8 

204  X           __ 

12 

210  L-D 

6,  8,  10 

217 

L 

.     .     .      8,12 

204  L             ^ 

_^          10,  12 

210  R-D 

6,  8,  10 

218 

J 

8,  12 

204  L-T       ,^^ 

V*           10,  12 

211  U 

.     .    6,  9 

219 

^ 

12 

205  R           > 

6 

211  A 

.         6,  9 

220 

c 

12 

205  R-T        B 

6 

211  B 

^ 

6,  9 

221 

r^ 

12 

205  R-L-X  —    . 

6 

211c 

^ 

6,  9 

222 

S 

12 

205  L           <    . 

6 

211  R 

-^ 

.     ,    6,  9 

223 

V 

12 

205  L-T       C 

6 

211  E 

^ 

6,  9 

224 

1 

12 

205  U           A 

6 

211  F 

\ 

6,  9 

225  R 

r 

10,  12,  18,  24 

205  U-T       m    . 

6 

211  G 

\ 

.         6,  9 

225  L 

^ 

10,  12,  18,  24 

205U-D-X    1 

6 

211  D 

i 

6,  9 

226  D 

t  ' 

),  8,  9,  10,  11,  12 

205  D       y 

6,  8 

211  H 

/ 

6,  9 

227  U 

\ 

6,  8,  9,  10,  12 

205  D-T       it 

.     .     ,     .             6 

211J 

^ 

6,  9 

227  D 

f 

6 

BRACKETS  •  A438 


NO.  CHARACTER  POINT    SIZE 

1  r      8  to  14 

2  -\        8  to  14 

3  r  6,  8,  10,  11,  12,  14 

4  I  6,  8,  10,  11,  12,  14 

5  ...4i  .     .         8,  10,  12 

6  \y..  .     .     .     .         8,  10,  12 

7  J         8,  10,  12 

8  J»         8,  10,  12 

9  I         8,  10,  12 

10  \         8,  10,  12 


11 

12 
13 
14 
17 
18 
19 
20 
21 
22 


CHARACTER 
'■■•-; 


c 
] 
[ 


POINT  SIZE 

8,  10,  12 

8,  10,  12 

8,  10,  12 

8,  10,  12 

9,  10,  11,  12 

9,  10,  11,  12 

8,  10,  11,  12 

8,  10,  11,  12 

.     .  7  to  14 

7  to  14 


25 
26 
27 
28 
29 
30 
31 
32 


POINT   SIZE 

7  to  14 
7  to  14 
10,  12,  14 
10,  12,  14 
6  to  14 
6  to  14 
6  to  14 
6  to  14 


Bn  B  r«  P  C     .      "^'"^  triangle 
*»  **  w  ij  O  number  of  face 


NO 

CHARACTER 

NO 

CHARACTER 

NO. 

CHARACTER 

NO 

CHARACTER 

NO. 

CHARACTER 

1 

f 

4 

1 

9 

1 

13 

-A. 

17 

-y 

2 

i 

5 

1- 

10 

r 

14 

^ 

18 



3 

[ 

6 

J 

11 

} 

15 

V_ 

19 

. . 

7 

1 

8 

1 

12 

16 

"V 

20 

— 

888  a 


ASTRONOMICAL 

•  A332 

NO. 

CHARACTER 

POINT    SIZE 

NO 

CHARACTER 

POINT    SIZE 

1 

T 

Aries  .     . 

.  .  .     5V2,  6,  8,  10,  11,  12,  14 

40 

s 

Mars 

5V2  to  14 

2 

« 

Taurus 

....  5V2,  6,  8,  10,  12 

14 

41 

u 

Jupiter        .     . 

5V2,  6,  7,  8,  10,  11,  12 

3 

X 

Gemini 

.     .     5V2,  6,  8,  10,  11,  12 

14 

42 

h 

Saturn 

5V2,  6,  7,  8,  10,  11,  12 

69 

n 

Gemini 

6,8,10,12 

14 

43 

6 

Uranus             .     . 

.     5V2,  6,  7,  8,  10,  12 

4 

s 

Cancer 

....  5V2,  6,  8,  10,  12 

14 

66 

V 

Uranus        .    .    . 

....    6,  8,  10,  12 

5 

a 

TVJl 

Leo 

.     .     5V2,  6,  8,  10,  11,  12 

14 

67 

6 

'4^ 

Uranus    .... 

...         6,  8,  10,  12 

6 

Virgo  . 

...  5V2,  6,  8,  10,  12 

14 

44 

Neptune 

5'/2,  6,  7,  8,  10,  11,  12 

7 

Libra 

5V2,  6,  8,  10,  11,  12 

14 

62 

0 

Pluto  

.     .     .     -    6,  8,  10,  12 

8 

Scorpio 
Sagittarius 

5'/2,  6,  8,  9,  10,  11,  12 

14 

70 

9 

6 

Pluto  

6,  10,  12 

9 

5V2,  6,  8,  10,  11,  12 

14 

46 

Conjunction 

.  5V2,  6,  8,  10,  11,  12 

10 

V5 

Capricornus 

5V2,  6,  8,  10,  11,  12 

14 

47 

0 

Opposition       .     . 

.  5V2,  6,  8,  10,  11,  12 

11 

^'' 

Aquarius 

5V2,  6,  8,  10,  11,  12 

14 

48 

A 

Trine 

.     5V2,  6,  8,  10,  12 

12 

X 

Pisces     . 

....  5V2,  6,  8,  10,  12 

14 

49 

D 

Quadrature     .     . 

5V2,  6,  8,  10,  12 

13 

f!-^ 

Aries  . 

8 

10 

50 

* 

Sextile        .     .    . 

.     .  5V2,  6,  8,  10,  11,  12 

14 

M 

Taurus 

8 

10 

63 

V 

Semi  sextile    .    . 

6,  8,  10,  12 

15 

5^ 

Gemini 

.8 

10 

64 

Q 

Sesquiquadrate  . 

.     .     .     .    6,  8,  10,  12 

16 

Cancer 

.8 

10 

65 

A 

Quincunx 

....    6,  8,  10,  12 

17 

Leo 

8 

10 

51 

oc 

Variation    .    .    . 

8,  10,  12 

18 

Virgo  . 

.8 

10 

52 

a 

Ascending  node  . 

.     5V2,  6,  8,  10,  12 

19 

1;% 

Libra 

.8 

10 

53 

t? 

Descending  node 

.     5V2,  6,  8,  10,  12 

54 

M 

Station  mark  .     . 

6,  8,  10,  11,  12 

20 

Scorpio 

.8 

10 

55 

U 

Sun's  upper  limb 

.     .     .6,  8,  10,  11,  12 

21 

^ 

Sagittarius 

.8 

10 

56 

e 

1^ 

Sun's  lower  limb 

.     .     .     .    6,  8,  10,  11 

22 

i^ 

Capricornus 

.8 

10 

57 

Sun's  center    .     . 

....    6,  8,  10,  12 

23 

^ 

Aquarius 

8 

10 

58 

Runs  highest  . 

....  5V2,  6,  8,  10 

24 
25 

Pisces 
Moon  ,     . 

5 

/2 

6 

8 
7,  8,  10,  12 

10 
14 

59 
68 

^ 

«> 

Runs  lowest     .     . 

....  5V2,  6,  8,  10 

Partly  cloudy 

6 

26 

® 

New  moon 

5 

/2,  6, 

7 

8,  9,  10,  12 

14 

-, 

27 

1 

First  quarte 

r  .       5 

/2,  6 

7 

8,  9,  10,  12 

14 

81 

Fair  weather  .    . 

14,  30 

28 

© 

Full  moon 

.     .  5 

/2,   6 

7 

8,  9,  10,  12 

14 

- 

29 

c 

Last  quarte 

r   .       5 

/2,  6, 

7 

8,  9,  10,  12 

14 

^^ 

1 

30 

• 

New  moon 

5V2,  6,  7,  8,  9,  10 

17 

82 

■ 

1  Rain  or  snow  .     . 

14,  30 

31 
32 

) 

First  quarte 

r  .     . 

.     5V2,  6,  7,  8,  10 

12 

^ 

1 

< 

Last  quarte 

r 

5V2,  6,  7,  8,  10 

12 

1 

1 

33 

D 

First  quarte 

r 

5V2,  6,  7,  8,  10,  11 

12 

83 

y 

j  Local  rain  or  snow 

14,  30 

34 

€ 

Last  quarte 

r 

5V2,  6,  7,  8,  10,  11 

12 

^ 

1 

36 

O 

Sun 

.          .         5V2  tc 

14 

^^ 

37 

5 

IVIercury 

5V2,  6,  7,  8,  10,  11 

12 

84 

W 

^  Temperature 

14,  30 

38 

9 

Venus 

.     .                   5V2  tc 

12 

r 

35 

© 

Earth 

.  5V2,  6,  8,  10,  11 

12 

■ 

" 

39 
45 

e 

6 

Earth 

.     5V2,  6,  7,  8,  10,  11,  12 

14 
12 

85 

Cold  wave  .     .    . 

14,  30 

Earth 

7,  i 

3,  10 

888  b 


CHEMICAL  •  A536 

NO, 

CHARACTER                                                                                     POINT    SIZE 

NO               CHARACTER                                                                                     POINT    SIZE 

1 

/       Single  bond 6,  8 

12      ■^±       Equilibrium  reaction  beginning 

2 

1           Single  bond 6,  8 

at  left                                           5'/2  to  12 

3 

^       Double  bond 6,  8 

13      ^       Reversible  reaction  beginning 

4 

II       Double  bond 6,  8 

at  left                                          6,  8,  10,  12 

5 

^       Double  bond 6,  8 

14      ^       Reaction  begins  at  right  and  is 

6 

II         Double  bond        6,  8 

completed  to  left                                     10 

7 

\       Single  bond 6  8 

15      t^       Reaction  begins  at  right  and  is 

completed  to  right                              ,10 

8 

1         Single  bond                                                6,  8 

9 

^-^       Reaction  goes  both  right  and 

16      ^       Reaction  begins  at  left  and  is 

left                                          6,  8,  9,  10,  12 

completed  to  right                           6,  8,  10 

10 

t        Reaction  goes  both  up  and 

17      — ^       Reaction  begins  at  left  and  is 

down  .                   ,           6,  8,  9,  10,  11,  12 

completed  to  left                            6,  8,  10 

11 

<-^       Equilibrium  reaction  beginning 

18      ^^       Reversible  reaction  beginning 

at  right  .                                         5V2  to  11 

at  right                                            6,  8,  10 

CHECKERS  •  A348 

CHARACTER                                                                                     POINT    SIZE 

NO,              CHARACTER                                                                                     POINT   SIZE 

246 

^j      Outline        12 

249  A      Solid  King 12 

250  ^      Square 12 

247 

^      Solid       12 

248 

Q      Outline  King 12 

COMMERCIAL  *  A  336 

NO 

CHARACTER                                                                                     POINT    SIZE 

NO               CHARACTER                                                                                     POINT    SIZE 

1 

%       Percent              .    .     .    \ 
%        Per  cent                              J 

9       4f       Mumber           5  to  24 

2 

Tr 
14       -if/       Number 5  to  14 

3 

OJ        Account                              / 

<'/..       Account V     Give  triangle 

'                                                  /     number  of  face 
It)       Pound 1 

10       '•;        Care  of 5  to  30 

4 
5 

11  •^.                              5V2,  6,  8,  10,  12 

12  ^f,       Per  mill       5V2  to  14 

6 

%^       P- j 

13        ,,        Ditto       6,  7,  8,  10,  12,  14 

8 

@       At,  to                                 1 

16        ®        Encircled  number                                         S'/s 

ECCLESIASTICAL  •  A340 

NCi 

CHARACTER                                                                                     POINT   SIZE 

NO               CHARACTER                                                                                     POINT    SIZE 

1 

2 

A        Latin  cross                   6,  7,  8,  10,  11,  12,  14 

^        Maltese  cross                6,  7,  8,  9,  10,  12,  14 

16      ,3fc       Calvary  cross 18 

3 

<fU        Maltese  cross                                         5  to  14 

18       J^'       Response         8,10,12,14 

8 

<^h       Maltese  cross          6  to  14 

19       ^       Response          6  to  14 

4 

-j-        Latin  cross 6  to  14 

20       J^'       Response                     6,  8,  9,  10,  11,  12,  14 

5 

J,       Greek  cross          -     ,     ,     .     .                 6  to  14 

21       \K        Response                                     6,  7,  8,  10,  12 

6 

V        St,  Andrews  cross        ,                  6,  8,  10,  12 

22       y       Versicle                            6,  7,  8,  9,  10,  12,  14 

7 

^       Cross  of  St,  George             6,  7,  8,  9,  10,  12 

23        V        Versicle       6,  7,  8,  9,  10,  12 

9 

■^SU       Miscellaneous                                       8  to  14 

24       y       Versicle 6  to  14 

10 

+        Double  death  cross 6,8,10,12 

26       y       Versicle  ,                       6,  8,  9,  10,  11,  12,  14 

889 


FRATERNAL  •  A328 


CHARACTER  POINT    SIZE 

^       Master  Mason         6,8,10 

A.       Master  Mason  12,18,24 

•^        Past  Master 6 

fh  Chapter  Mason        ,     -    6,  8,  10,  12,  18,  2A 

A        Masonic  Chapter 6 

S^        Knight  Templar 6 

®        Eastern  Star  6 


NO  CHARACTER  POINT  SIZE 

8  ^        Eastern  Star 6,  18,  24 

9  e       Grotto 6 

10  <:t?(^>    Shriner 6,  10,  12 

11  Q       Sun 6,  8 

13  C^aCi    Odd  Fellow 6,12 

14  ly-      Camel 12 


MATHEMATICAL  •  A  330 


1 

4- 

2 

— 

3 

X 

4 

-:_ 

5 

= 

6 

± 

7 

qz 

56 

± 

73 

++ 

8 

OC 

9 

CO 

10 

(■ 

11 

112 

X 

12 

^ 

60 

_• 

92 

9 

13 

= 

87 

+ 

14 

¥= 

15 

as 

61 

^; 

93 



16 

> 

120 

< 

80 

18 

19 

20 

-!-!- 

21 

< 

58 

-J 

22 

> 

57 

c- 

125 

^ 

23 

< 

24 

> 

ARACTER  POINT    SIZE 

Plus 5  to  14 

Minus 5  to  14 

Multiplied  by 5  to  14 

Divided  by 5  to  14 

Equal  to 5  to  14 

Plus  or  minus 5  to  14 

Minus  or  plus 5  to  14 

Plus  or  equal SVz  to  12 

Double  plus 6  to  12 

Variation 6  to  12 

Infinity 5  to  14 

Integral       6  to  14 

DifTerence 6  to  12 

Difference       6,  8,  9,  10,  12 

Difference  between  6  to  12 

Difference  excess    .  6,  8,  9,  10,  12 

Differential 6  to  12 

Identical  with;  congruent    ,  6  to  12 

Not  identical  with  6,  8,  9,  10,  12 

Mot  equal  to  6  to  12 

Nearly  equal  to  ,         6,  8,  9,  10,  12 

Equals  approximately 6  to  12 

Equals  approximately  ...  6,  8,  9,  10 
Equal  to  or  greater  than  6,8,9,10,12 
Equal  to  or  less  than  .  .    6,  8,  9,  10,  12 

Multiplied  by 6  to  12 

Ratio  6  to  12 

Proportion  6  to  12 

Geometrical  proportion 6  to  12 

Less  than        6  to  12 

Less  than         6,  8,  9,  10 

Greater  than        6  to  12 

Greater  than  6,  8,  9,  10 

Greater  than  or  less  than 9,10 

Not  less  than 6  to  12 

Not  greater  than 6  to  12 


< 


81 

^ 

17 

< 

124 

^ 

91 

^ 

77 

^ 

84 

> 

25 

o 

106 

# 

107 

^ 

28 

I 

72 

\ 

76 

A 

35 

L 

29 

A 

74 

A 

111 

V 

30 

• 

31 

32 

' 

33 

// 

34 

0 

67 

' 

64 

" 

65 

o 

71 

^ 

36 

1 

68 

J? 

37 

II 

78 

|s 

38 

+ 

121 

II 

39 

^= 

26 

o 

75 

© 

27 

n 

4RACTER  POINT   SIZE 

Less  than  or  equal  to       6  to  12 

Less  than  or  equal  to  5V2  to  12 

Less  than  or  equal  to  .  5^2  to  12 

Less  than  or  greater  than  .  ,  .8,9,10 
Greater  than  or  equal  to  ...  6  to  12 
Greater  than  or  equal  to  .     .  5^2  to  12 

Greater  than  or  equal  to  5'/2  to  12 

Equivalent  to 6,  8,  9,  10 

Not  equivalent .  6  to  12 

Not  equivalent 6,8,9,10,12 

Angle 6  to  12 

Angle .    .    .    , 6  to  12 

Angles 6  to  12 

Right  angle 6  to  12 

Triangle  .  4  to  14 

Triangles 6,  8,  9,  10,  12 

Equal  angles 6,  8,  9,  10,  12 

Hence,  therefore 5  to  14 

Because       5  to  14 

Minute 4  to  14 

Second 4  to  14 

Degree 4  to  14 

Dotted  minute 6,  8,  9,  10,  11 

Dotted  second  6,8,9,10 

Dotted  degree     .     ...    .    .    .     ,6,8,9,10 

Cancelled  second 6,8,9,10 

Perpendicular  to 5V2  to  12 

Perpendiculars 6,  8,  9,  10,  12 

Parallel 6  to  12 

Parallels 6,  8,  9,  10,  12 

Equal  and  parallel  .     .     .     .    6,  8,  9,  10,  12 

Not  parallels       6,  8,  9,  10 

Approaches  a  limit 6  to  12 

Circle 5  to  14 

Circles 6,  8,  9,  10,  12 

Square 4  to  14 


889  a 


MATHEMATICAL    •    A  330  (continued) 


NO. 

94 
89 
90 
40 
79 
41 
95 
42 
62 

100 

101 
83 
43 

122 
44 
45 
46 
47 
48 
49 
50 
51 
52 
53 

109 


CHARACTER  POINT    SIZE 

1^       Squares 6,  8,  9,  10,  12 

"~        Arc  6  to  1 2 

Arc 6  to  12 

^       Sector 6  to  10 

^      Segment 6,  8,  9,  10,  12 

I — I        Rectangle        ,  6  to  14 

r^       Rectangles       6,  8,  9,  10,  12 

Q       Rhomboid        6,  8,  9,  10,  12 

[^       Rhomboids       6,  8,  9,  10,  12 

Q       Pentagon 6,  8,  9,  10,  12 

Q        Ellipse 6,  8,  9,  10,  12 

0       Diameter 6  to  12 

m       Cube 6  to  12 

^/       Radical 6  to  14 

^/      Root 4  to  14 

>!/      Root 5V2  to  12 

^^/      Root 6  to  14 

>3/      Cube  root 6  to  14 

W       Fourth  root 6  to  14 

^V       Fifth  root 6  to  12 

■fi/       Sixth  root 6  to  12 

v/       Seventh  root 6  to  12 

^s/      Eighth  root 6  to  12 

>!>/       Ninth  root       6  to  12 

^ly       Nth  root 6  to  12 


110 
59 
66 
63 
82 
96 
97 
98 
99 

113 

114 

115 

85 

86 

117 

55 

54 

69 

70 

102 

103 

104 

108 


0 

<i> 
A 
<« 
>» 
c 


\ 
/// 


'-RACIER 

2nth  root         .     . 
Horizontal  integral 
Horizontal  radical 
Assertion  sign 
Triple  prime 
Is  measured  by 
Summation  of 
Pi,  3,1416 
Base  (2.718)  of  natura 
system  of  logarithms 

Theta 

Phi 


POINT   SIZE 

6  to  12 

6  to  14 

7  to  14 
6  to  10 
6  to  10 

6,  8,  9,  10,  12 

7,  9,  12,  14 

7,  9,  11,  12,  14 


.     .       7,  9,  12 
.     .     .  6  to  12 

.6,  8,  9,  10,  12,  14 


Delta 6, 


9,  10,  12 
6  to  12 
6  to  12 
10 
5V2  to  14 
5V2  to  14 
6  to  12 


Mean  value  of  c  .... 
Rising  diagonal  .... 
Falling  diagonal  ,     . 

Parallel  rising  diagonal 

Parallel  falling  diagonal 6  to  12 

Rising  Parallels        6  to  12 

Falling  parallels 6  to  12 

Triple  vertical 6  to  10 

6  to  10 


MATHEMATICAL   No.  2  •  A  526 


NO-  CHARACTER  POINT    SIZE 

1  _|_        Plus 12 

2  _        Minus 12 

3  ^        Multiplied  by 12 

4  ^        Divided  by 12 

5  _        Equal  to 12 

11  ^^       Difference 12 

12  _^       Difference  between 12 

13  ^       Identical  with,  congruent 12 

14  /        Not  equal  to        12 

61  ^       Equals  approximately 12 

21  <--       Less  than        12 

22  ->       Greater  than 12 

28  ^        Angle 12 

76  /        Angles 12 


NO               CHARACTER  POINT    SIZE 

29  ^       Triangle 12 

74  A        Triangles 12 

30  •         Hence,  therefore 12 

36  I         Perpendicular  to 12 

68  k;       Perpendiculars 12 

37  [I         Parallel 12 

26  Q       Circle 12 

75  0       Circles 12 

27  r-i        Square 12 

94  m        Squares 12 

42  r-j       Rhomboid 12 

62  p—i       Rhomboids 12 

96  2}L       Is  measured  by 12 


889  b 


ELECTION  •  A346 


NO  CHARACTER                                                                                   POINT    SIZE 

1  llB^X     Republican 12,  24 

2  'yi^^T'     Democratic 12,  24 

3  ffi,        Prohibition 12,24 


Progressive 12,  24 


5    ==-?         Independent  Progressive .     .     .    .    12,  24 


Socialist 


12,  24 


American  Labor 12,  24 

9    J^^    Farmer  Labor 12,  24 

IQmKv^  Republican  Elephant 10,  24 


'AT' 


11 


12 


13 


Liberal 12,  24 


24 


.24 


24 


24 


17        ■>■/        Democratic  Donkey 10 

19        f=^        American 12,  24 


20 


Communist 


24 


NO.  CHARACTER 


POINT    SIZE 


102     (  J     Ballot  Circle 12,  18,  20,  24 

129    (^J     Ballot  Circle 14  to  36 


105 


111 


Ballot  Square 

12,  14,  18,  20,  24,  28,  30,  36 


X 


Ballot  Square      6  to  36 

106  y         Ballot  Cross 8,  12 

107  r 
108 
109 


I   Sectional  Ballot  Square 
6,  9,  10,  11,  12,  14 

II    Sectional  Ballot  Square 
I  6,  9,  10,  11,  12,  14 


I  Sectional  Ballot  Square 
I  \y  I  6,  9,  10,  11,  12,  14 

110  I  /\  I  Sectional  Ballot  Square 

I I  6,  9,  10,  11,  12,  14 


123 


124 


125 


126 


3<1 

n 


Sectional  Ballot  Square  10,  20 

Sectional  Ballot  Square       .  10,  20 

Sectional  Ballot  Square  .10,  20 

Sectional  Ballot  Square  .     ,     .     .    10,  20 
Voting  Machine  Lever     .36 


Voting  Machine  Lever         .    26,  36 


Voting  Machine  Lever 


14,  30 


FISTS  •  A400 


NO 

CHARACTER                       POINT    SIZE 

NO               CHARACTER                        POINT    SIZE 

NO. 

CHAF 

ACTEP                        POINT 

SIZE 

1 

f^;^    Left  outline   .  5V2,  10 

6  -^^    Right  solid     . 

4  to  36 

11 

f 

Upper  solid    . 

12 

2 

-^;]]    Right  outline   5V2,  10 

7    WW    Left  solid 

6,  7 

3 

l^r-"    Left  outline      4  to  36 

8    ~Wi    Right  solid 

6,  7 

12 

n 

Upper  solid    .     . 

24 

4 

"Ti^£|l    Right  outline    4  to  36 

9  ffr?^    Left  mailed 

14 

' 

5 

m^-    Left  solid         4  to  36 

10  <=^':x<1l    Right  mailed 

14 

15 

^ 

Upper  outline 

10 

890 


MEDICAL  •  A334 


NO  CHARACTER  POKII    SIZE 

1  I^        Recipe 5  to  24 

2  =        Ounce 5V2  to  14 

3  r>        Dram  5V2  to  12 


NO  CHARACTER 

4  ;►)        Scruple 

5  1)1        Drop 

6  ^       Mix 


POirjT    SIZE 

5V2  to  12 

5V2,  6,  8,  9,  10,  11,  12,  14 
6,  8,  10,  12 


MONETARY 

(Give  triangle  number  of  face) 


NO 

CH 

ARACTER 

NO. 

CHARACTER 

tio 

CHA 

5ACTER 

1 

$ 

Dollar 

9 

Moneda 

Nacional 

17 

c 

Centavo 

2 

£ 

Sterling 

10 

0/ 
/S 

Oro  Sellado 

18 

(1 

Pence 

3 

^'/^ 

Colon 

11 

c/// 

Mark 

19 

C$ 

Cordova  peso 

4 

P 

Peseta 

12 

■s 

Pfennig 

20 

/ 

Florin 

5 

R 

Rupee 

13 

F 

Bolivar 

22 

s/ 

Sucre 

6 

¥ 

Yen 

14 

I' 

Taels 

23 

s/. 

Sucre 

7 

f 

Cent 

15 

1 

Milreis 

24 

0 

Quetzal 

8 

/ 

Shilling 

16 

£ 

Pound, 

talian 

MUSICAL  •  A342 


1 

# 

2 

b 

3 

^ 

4 

; 

8 

J 

5 

J 

6 

4 

7 

^- 

CHARACTER  POirjT    SIZE 

Sharp 5  to  14 

Flat         5  to  14 

IMatural 5  to  14 

1/8  note 6,  8,  10,  11,  12,  14 

1/4  note 6,  8,  10,  11,  12,  14 

1/2  note 6,  8,  10,  11,  12,  14 

G  clef 6,  8,  10,  12,  14 

Fclef  6,  8,  10,  12,  14 


NO               CHARACTER  POlfJT    SIZE 

9  ::<       Double  sharp       6,8,10,12 

12  ^         Full  note 6,  8,  10,  12 

13  j;        iV  note 6,  8,  10,  11,  12 

14  rr^       Hold 6,  8,  10,  12 

15  :[?        Repeat 6,  8,  10,  12 

16  'J-       Repeat 6,  8,  10,  12 

17  n       Joined  Vs  notes 12 

18  nn     Joined  I  8  notes 12 


ORNAMENTS  •  A  460 

(Dots  and  Squares) 


NO  CHARACTER                        POINT    SIZE 

Dots  (Center  of  Slug): 

1  «         5V2  to  18 

2  0        5V2  to  18 

3  0       ....  8  to  24 

4  ^        ....  8  to  24 

5  0       10  to  30 

6  ^ 14  to  30 

7  ^^ 18  to  36 


NO.  CHARACTER 


POINT    SIZE 


24,  30 


24,  36 


Dots  (Center  of  Cap  H): 

25  .  6  to  14 

26  •         .    .  6  to  14 

27  .         ...    6,  8,  9,  10,  12 


N.)  CHARACTER  POINT    SIZE 

Squares  (Center  of  Slug): 

19  ■         6,  8,  10 

20  ■ 6 

21  ■        8,  10 

18  ^H 


891 


TIME  TABLE  and  TARIFF  •  A  344 


1 

56 
2 
3 

33 
6 

54 

41 

128 

160 

55 

8 

38 

51 

7 

62 

4 

5 

30 

36 

57 

126 

127 

159 

37 

39 

40 

9 

15 

22 

17 

19 

25 

12 

32 

106 

60 

31 

23 

13 
150 


CHARACTER 
♦ 
♦ 


POINT  SIZE 

5V2,  6,  7,  8,  10,  12,  14 

-    6,  7,  8,  9,  10,  12 

.     .  4,  5V2,  6,  8,  9,  10 

.     ,     5V2,  6,  8,  10,  12 

-•        6,  8 

^        4,  5V2,  6,  7,  8,  9,  10, 

12,  14 
y        -       6,  7,  8,  10,  12,  14 
/^        ....    6,  8,  10,  11 
^        6,  8,  10 

O        8 

<$>        6,  7,  8 

<$,        6,  8,  10 

^       6,  8,  10 

□  ,     ,    4,  6,  8,  10,  12 

■  4,  5,  5'-'2,  6,  8,  10, 

12,  14 

:J^  .     .       6,8,10,12,14 

i,  .     .    4,  6,  8,  10,  11 

I  .     .     .     ,  5V2,  6,  8,  10 

X        6,  8,  10 

«  ....    6,  8,  10,  11 

O  ....  5V2,  6,  8,  10 

(§)  ...    6,  7,  8,-10,  12 

®        6,  8,  10 

®        8 

O  ■     • 


® 
® 

® 

0 

Ca) 


® 


.  5,  6,  8,  10 
5V2,  6,  8,  10 
6,  8,  10 
6,  8,  10,  12 
.  .6,8,10 
.  .  .8,10 
.  .6,8,10 
.  .6,8,10 
.  .6,  8,  10 
.     .6,8,10 


(D        7 

(C)       5  to  12 

(Q)        4,  5,  5V2,  6,  7,  8,  10, 
11 
.     ,     .       5,6,8,10 
5V2,  6,  7,  8,  10,  12 
6,  7 


NO. 

161 

21 

10 

11 

16 

24 

14 

18 

20 

26 

64 

34 

27 

28 

101 

102 

84 

85 

86 

87 

99 

100 

104 

105 

103 


CHARACTER 


71 
72 
73 
74 
75 
76 
77 
78 
79 
80 
81 
82 
83 


® 

m 
® 
® 
® 
® 

© 


® 

AM 
PNI 

Bl 

i 
1 

1 

65  [T] 

66  [2] 

67  0 

68  [7] 

69  0 

70  0 


S 


POIMT   SIZE 

7,  8,  9,  10,  12 
6,  10,  12 
.6,  8,  10 
6,  8,  10,  12 
6,  8,  10 
8,  10 
6,  8,  10 


6,  8, 


8,  10 
8,  10 
8,  10 
8,  10 
8,  10 
10,  12 
8,  10 
8,  10 
8,  10 


6,  8,  10,  11 
6,  8,  10,  11 
6,  8,  10,  11 
6,  8,  10,  11 
6,  8,  10,  11 
6,  8,  10,  11 
6,  8,  10,  11 
6,  8,  10,  11 
6,  8,  10,  11 
6,  8,  10,  11 
8,  11 
8,  11 
8,  11 
8,  11 
8,  11 
8,  11 
8,  11 
8,  11 
8,  11 


42 

43 

44 

45 

46 

47 

48 

49 

50 

63 

88 

89 

90 

91 

92 

93 

94 

95 

96 

97 

98 

107 

108 

109 

110 

111 

112 

113 

114 

115 

116 

117 

118 

119 

120 

121 

122 

123 

124 

125 


CHARACTER 

3  .  .  . 

1  ,  .  . 

3  .  .  . 

3  .  .  . 

5]  .  .  . 

§  .  .  . 

g  .  .  . 

I  .  .  . 

^  .  .  . 

^  .  .  . 

i  .  .  . 

I  .  .  . 

I  .  .  . 

1  .  .  . 

I  .  .  . 

1  .  .  . 

i  .  .  . 

9  .  .  . 

1  ■  ■  ■ 

i  .  .  . 

i  .  .  . 


^ 


(Dto  @ 

@  to  (100)  . 
(JO!)  to  (|00) 


POINT  SIZE 

8,  10,  11 
8,  10,  11 
8,  10,  11 
8,  10,  11 
8,  10,  11 
8,  10,  11 
8,  10,  11 
8,  10,  11 
8,  10,  11 
,  8,  11 
6,  8,  11 
6,  8,  11 
6,  8,  11 
.6,  8,  11 
.6,  8,  11 
6,  8,  11 
6,  8,  11 
.6,  8,  11 
6,  8,  11 
.6,  8,  11 
.  .  6,  8 
.  .  6,  8 
.  .  6,  8 
.  .  6,  8 
.  .  6,  8 
.  .  6,  8 
.  .  6,  8 
.  .  6,  8 
.  .  6,  8 
.  .  6,  8 
.  .  6,  8 
.  .  6,  8 
.  .  6,  8 
.  .  6,  8 
.  .  6,  8 
.  .  6,  8 
.  .  6,  8 
.  .  6,  8 
.  .  6,  8 
.  6,  8 
6,  8,  10 
.  .  6,  8 
...  8 


PRESS    SYNDICATE  •  A350 


NO  CHARACTER                                                                                     POINT   SIZE 

13    (U.R)    United  Press 5V2  to  18 

23     (^/Pj     Associated  Press 5  to  18 

1^^  (INS)    International  IMews  Service         .   5V2  to  14 


NO  CHARACTER                                                                                     POINT   SIZE 

200       ((C)       IMational  Catholic 8 

226     (CP)     Canadian  Press 6,  7,  7V2,  8,  10 

259      (US)      Universal  Service 7,  7V2 


891a 


MISCELLANEOUS     ASaS 


NO 

10 

13 

13 

21 

23 

30 

31 

34 

503 

92 

103 

106 

112 

150 

151 

152 

153 

251 

252 

293 

336 

338 

339 

355 

425 

426 


CHARACTER  POirjT    SIZc 

j>  Check  Mark               6,  8,  10,  12,  14,  18,  24 

-  (En)   Horizontal  Parallel                     5  to  14 

—  (Em)  Horizontal  Parallel                     5  to  14 

II  Vertical  Parallel                                  5  to  36 

0  Race  Chart  Sign            5V2,  6,  8,  10,  12,  14 

[I  6  to  14 

II  8,  9,  10,  12 

^       Bell 5V2,  6,  8,  10,  12 

$>        Bell         6 

V        S,  10 

-M       Telegraph 6,  7,  8,  9,  10,  12 

«w«W  6  to  14 

Aj       Anchor 6,  7,  8,  10,  12 

(l<        Anchor 8,  12 

^       Anchor 6,  7,  8,  10,  12,  14 

J.        Anchor 6,  8,  10 

■f-       Anchor 11,  14 

><         Strike  (Bowling)  5'/2,  8 

^  Spare  (Bowling)              .     .  5V2,  6,  8,  9,  10 

(5)  Encircled  Circle                     5V2,  6,  8,  10,  12 

\S<^  Envelope                               6,  7,  8,  9,  10,  12 

□  Horizontal  Rectangle       ....      8,  9,  14 

[]        Vertical  Rectangle 8 

fl:       Telephone  Receiver 8,  10 

J3r      Cow  10 

'^l        Rooster 10 


NO  r.HARAClfcR  POINT    SIZE 

467  ^^^j^  Terrapin 10 

481  Caret  8,  10,  11 

594  Inverted  Caret 8,  10,  11 

544  __      Summation          6,  8,  10,  12 

564  f  Caduceus                          ,                              6 

621  fu)  Encircled  lower  case  0                 5,  SVa,  6,  8 

748  e        Acorn                6 

769  \Jf>      French  Horn 6,  7,  8,  9,  10,  12 

770  f^      Castle         6  to  10 

771  IIEj       Camera 6,  7,  8,  9,  10,  12 

772  ^^      Garage 6  to  10 

773  gg  Locomotive  .     .     .     .    6,  7,  8,  9,  10,  12 

774  ^      Pacing  Horse       6  to  10 

775  jn^  Horse  and  Cab    ....    6,  7,  8,  9,  10,  12 

776  »^^  Steamboat  .     .    .     .    6,  7,  8,  9,  10,  12 
778  -^        Telegraph  Office 6  to  10 

963  ^        Breve  Sign  8 

964  yy        Breve  Sign  8 

967  _>       Vertical  Slug  Check  Mark 8,10 

972  I     "  Window  Envelope  Corner         .    .     .    .6,  12 

973  I      Window  Envelope  Corner 6,12 

974  I  Window  Envelope  Corner 12 

975  I      Window  Envelope  Corner 12 

979  '""J'"     Indicia  10,  12 

980  IT  PRINTED  1  indicia 12 

IN    USA 


PARAGRAPH    MARKS  -aSSS 


No 

CHARACTER 

POINT   SIZE 

13 

c    ■ 

5V2  to  30 

14 
16 

^   ■  ■ 

.  6  to  36 
.  6  to  14 

17 
18 

9 

8, 

10, 

8,  10 
11,  12,  14 

19 

<f 

10, 

11,  14,  18 

20 

1    ■  6. 

14  to  30 

21 

8, 

10, 

11,  12,  14 

no 

CHARACTER 

POINT    SIZE 

22 

n 

6  to  30 

23 

a; 

8,  10,  12,  14 

24 

(C 

.          .        6  to  24 

26 

if 

...        7  to  14 

27 

12 

28 

7,  8,  10 

29 

n 

6,  8,  9,  10,  12,  14 

30 

1 

7  to  14 

31 
32 
33 

34 
35 

36 

37 


CHARACTER  POINT    SIZE 

^  6,  8,  9,  10,  12,  14 

^         6  to  24 

^  ...    10,  12,  14,  24 

H  6  to  14 

q  '' 

H  '' 

([ 


PLAYING    CARD  -ASaS 


NO 

CHARACTER 

POINT    SIZE 

NO 

CHARACTER 

POINT   SIZE 

133 

4k 

Spade 

5,  6,  7,  8,  10, 

11, 

12,  18,  24 

330 

A 

Spade     .    .    . 

5,  6,  7,  8,  10,  11,  12 

134 

V 

Heart 

5,  6,  7,  8,  10, 

11, 

12,  18,  24 

332 

<^ 

Heart.    .     .     . 

5,  6,  7,  8,  10,  11,  12 

135 

♦ 

Diamond 

5,  6,  7,  8,  10, 

11, 

12,  18,  24 

331 

0 

Diamond     .     . 

.     .      5,  6,  7,  8,  10,  11,  12 

132 

J!» 

Club 

5,  6,  7,  8,  10, 

11, 

12,  18,  24 

329 

* 

Club        .    .     . 

.     .      5,  6,  7,  8,  10,  11,  12 

136 

« 

Eagle 

8, 

10,  11,  12 

891b 


ACCENTED  CHARACTERS 

(Arranged  by  language) 

The  following  is  a  list  of  the  various  modern  Ian-       cented  characters  required  in  the  composition  of 

guages  which  are  printed  in  Roman  characters,       each.  For  ready 

reference  they  are  repeated  on 

together    with    the    complete    assortment    of  ac-       the  following  page,  grouped  alphabetically. 

ALBANIAN 

FRENCH 

ROUMANIAN 

A  g  E  E  E  I  O  0  Y 

A  A  g  E  E  E  E  I  I  o 

A  .\  A  E  I  i  O  S  T  u 

a  c  e  e  e  e  e  i  6  11  y 

uuij 

a  a  a  e  i  i  6  s  t  ii 

ANGLO-SAXON 

a  a  c  e  e  e  e  i  i  n  u  u  ii 

RUSSIAN 

A.EDE^SiOpQUY 

FRISIAN 

i  E  Y  e  y 

asSe?5io}?ouy 

A  E  E  6  LT  U  a  e  e  6  li  u 

SERBO-CROATIAN 

■■ 

(Yugo-Slav) 

GERMAN 

,     ^            ^     ^ 

BASQUE 

C  C  D  S  Z  c  c  d  s  z 

g  D  L  N  R  S  T  ij 

A  O  iJ  ii  5  li 

SLOVAKIAN 

q  d  1  n  f  s  t  ii 

HUNGARIAN 

A  E  I  6  O  0  ti  u  C 

a  e  i  6  6  6  li  ii  ii 

AaCdeillnOr 

BASQUE-SPANISH 

.^  T  U  Y  Z  a  a  c  d'  e  i  1'  1 

D  L  X  R  .S  T  U 

n  6  i"  s  t'  ii  y  z 

-  - 

ICELANDIC    (Modern) 

(1  1  n  f  s  t  u 

A  D  E   I   6  O    P  0   Y 

SLOVENIAN 

C  §  2  c  s  z 

BASQUE-FRENCH 

a  S  e  i  6  ii  ])  li  y 

C  D  L  N  R  S  T  iJ 

c  d  \  n  f  s  t  i\ 

SPANISH 

ICELANDIC    (Old) 

A  E  I  N  6  U  U 

A  .E  D  E  1  O  Q  0  0  0  P 

a  e  i  n  6  ii  ii 

BOHEMIAN  (C^ech) 

LI 'S^  a  «  (S  e  i  6  0  9  0  ^  )'  ii  y 

A  C  D  E  E  I  N  6  ft  .^  T 
U  0  Y  Z  a  c  d'  e  e  i  n  o  r 

ITALIAN 

A  E  i  I  6  U  a  e  i  i  (■)  ii 

SWEDISH 

A  A  O  a  a  o 

s  t   11  n  V  z 

TAGALOG 

LATIN  TURKISH 

AEGINOUaaaeee 

CATALAN 

G  i  S  O  <>■  I  s  o 

g  i  i  i  fi  6  o  o  li  ii  u 

A  g  E  E  I  I  O  0  U  L-L 

LETTISH 

TAMIL    (Roman) 

a  Q  e  e  i  'i  6  6  u  u  11 

A  C  E  G  i  K  L  N  R  .^  U  Z 

H  K  L  L  L  M  M  N  N  N 

DANISH 

a  c  e  g  i  k  1  n  r  s  u  /, 

R  S  h  k  1  1  1  m  m  n  n  n  r  s 

A  0  a  e  0 

LITHUANIAN 

URDU  (Roman) 

DUTCH 

ACEE5I.^UU2 

AACHDDHEGNHH 

a  a  a  e  e  e  e  i  i  cS  6  o  6 

a  c  e  e  ^  }  s  u  u  z 

Ikkhnnorsssh 

11  u  u  ij 

NORWEGIAN 

T  1^  TH  U  Z  Z  Z  ZH  a  a 

A  (/)  a  a  e  (')  ti 

ch  d  dh  e  gn  h  h  h  i  k  kh  ii 

ESPERANTO 

/                              -     / 

C  G  H  J  S  U  c  g  ii  J  s  u 

POLISH 

n  6  r  s  s  sh  t  t  th  u  z  z  z  zh 

.  \  C  5  L  N  O  .^  Z  Z 

WELSH 

ESTONIAN 

a  c  e  t  n  6  s  z  z 

A  E  i  6  W  Y  a  a  e  e  e 

A  O  (')  U  a  o  o  li 

' 

...,...«.  ^  .  . 

PORTUGUESE 

I  1  1  o  o  o  u  w  y  y 

FINNISH 

A  A  g  E  E  I  6  f)  C)  Ct 

WELTEVREDEN,    JAVA 

A  A  O  a  a  o 

a  a  q  e  e  i  6  o  6  u 

(Dutch  East  Indies) 

a  a  a  a  q  e  e  e  e  i  i  i  i  ii 

FLEMISH 

ROMANSH 

6  6  6  5  ii  ii  u  ii  ij 

aaaeeeeiioooo 

AAeeeioou 

YUGO-SLAV 

ii  u  ii  ij 

aaeeeiooii 

(See  Serbo-Croatian) 

892 


ACCENTED  CHARACTERS 

(Alphabetically  Arranged) 

The  accents  shown  in  this  list  will  be  supplied  ACCENTS  (Form  821).  Characters  not  shown  in 
with  any  face  at  the  regular  sorts  price.  In  order-  this  list  can  be  made  to  order  at  a  special  price, 
ing  please  use   LINOTYPE  Matrix   Order   for       which  will  be  quoted  on  request. 


A  A  A  A  A  A  A  A  A  A  A  A 

.\ 

.\  A  A 

N  N  N  N  N  N  X  X 

A  A  A\  .1^"  a  a  a  a  a  a  a  a  a  a  a 

a 

a  a  a  a 

11  n  n  n  ii  n  n  n  iig  « 

a  a  a  a  a  a  a  a  a  a  a  a  a  x  x. 

(')  O  C)  O  (")  O  (")  0  (")  C)  O  6  C)  (  )  0  () 

C  C  C  C  €  CH  Ch 

O  (J  Gi  (E  (')()()()  o  o  (')  0  6  o  o  o  6  6  ^  (^ 

Q  c  c  c  c  c  f  ch 

( )  ( )  ()  (>()  (HI  o  ()  o  ( )  (')  ( f  iT' 

D  D  "I)  D'  +)  D  1)  1)'  1)11  Uh 

t^P 

d'  (1  (I  fl  (1  c1  (1  (1  dh 

k  k  R  R  R  R  R  \{  R  R 

E  E  E  E  E  K  E  I^  E  E  E  E  E  E 

?E  E 

r  i"  f  f  f  f"  f  i'  r  r  r  r  r  -i^ 

eeeeeee^eeeeeeeeee 

?  ?  ?  t'  e  e 

S  S  S  S  .S  .S  .S  S  .S  .S  S  ^  SH  Sh 

e  e  e  ^ 

s  s  s  s  s  .s  ,s  s  s  s  ,s  s  §  .sh 

G  G  G  G  G  (',  G  G  GX  Gh  Gn 

TTTT  T  1''  T  'J'  T"l-}l  'I'h 

g  g  g  g  8"  ^  ?  &  ?  ^  g  SD  SL^ 

t'  t  t  t  t  t  t'  t  t  t  th 

f[  H  H  H  H  H 

LI  C  u  u  0  u  u  C  0  y  0  u  u  u  u 

ii  h  h  h  h  h  h 

u  11  11  (i  fi  u  u  ii  u  u  u  u  u  u  u  u  u  u  u  u  u 

I  I  I  I  I  I  1  I  I  I  T  [  I  I  -I-  T 

u  u  «  u 

1  1  1  1  1  1  1  1  1  1  1  I  1  J  1  1  1  1,  1  I  1  1  1 

1  ] 

\V  W  \\' 

JJ 

\v  w  w  \v  \v  w  w 

J  J 

■ 

K  K  K  KH  Kli 

V  Y  Y  Y  Y  Y 

k  k  k  k  k  kh 

y  y  y  y  y  y  y  y  y 

L  L  L  L  L  r.  L  \,  L  1^  L  LL 

Z  Z  Z  Z  Z  Z  Z  Z  Z  Z]  I  Zh 

ir  1  1  1  1  1  1  1  1  1  ]  H  1 

z  z  z  z  z  z  z  z  z  z  zh 

M  MM 

e  s  1^  p 

m  111  ni  iiTg'  m  iTi  n'l 

e  8  (5  ;^  1'  h  It  -^  t  ij  '■' 

PIECE  ACCENTS      A 440 

The  accents  are  cast  on  an  independent  slug  ter  how  large  may  be  the  body  on  which  they  are 
which  is  placed  immediately  above  the  main  slug  cast.  By  reversing  the  slug  the  accents  are  there- 
requiring  accented  characters.  fore  brought  close  to  the  character  on  the  main 
The  characters  are  cut  in  the  matrix  the  re-  slug.  It  is  not  necessary  to  cast  the  accents  on 
verse  of  regular  characters,  so  that  the  base  of  the  their  own  body;  any  mold  body  in  the  machine  at 
accents  is  on  the  smooth  side  of  the  slug,  no  mat-  the  time  may  be  used. 


Character  No.  1  with  No.  2 
(Acute  with  Grave) 

r  r 

Small  Mpiliiini  l.aiKr 

.Si^p.  .(IX.)     ,Si/p.     l.i.S.f     ,Si/p.     I')i7 


Character  No.  4  with  No.  3 
(Dieresis  with  Circumflex) 

•  •  •    • 

(IK(11  Meilimu  l.ariie 

e.    ().S.?     Si/e.  .I.W.?     ,Si/p.  .Iv,i7 


Character  No.  5 

(Tilde) 


.Small  Me, Inn, 1 

SJ7P.    (W!     Si/p.     I  i,"*,! 


AlKive:     I  hp    .uiPdl".    ..ist    ,,((    .111    imipppiulpnt    slue      KiwlK       TIk 
slue  pl.Tipd  aliiup  llip  line  reuiiirniK  ai  rpii(s. 


L'AME  DE  L'ELEVE 


892  a 


SUPERIOR  and  INFERIOR  CHARACTERS 

These  should  be  ordered  on  the  regular  Matrix       rior  position.  The  caps,  lower  case  and  points  are 
Order  Blank    (Form  819)   marking  it  conspicu-       made   as  two-letter  matrices,  roman  and   italic; 
ously    "Superior"    or    "Inferior".    Any    superior       the  figures,  roman  and  italic  or  roman  and  bold; 
character  shown  will  also  be  supplied  in  the  infe-       the  other  characters  as  one-letter  matrices. 

SUPERIOR   CHARACTERS    are   made   in   two       align  with  the  ascenders  in  each  point  size  of  the 
sizes  only.  The  smaller  size  is  used  with  5  to  9       major  characters.  In  ordering,  it  is  only  necessary 
point  faces  and  the  larger  with   10  to    14  point       to  indicate  whether  the  Small    (5 A         )   or  the 
faces.   The  ascenders  of  the  superior  characters       Large  (  lOA         )  size  is  desired. 

SMALL  (For  5  to  9  Point  Faces) 

Roman  and  Italic  (A 356) 

J    A   B  r   11   E  V  i;   II   1  .1   K   I,  M   N  O   I'  Q  R  S  T   V  V   \V  .\   Y  Z 
1     \   B  r  n   E  F  fl   H   1  J  K  L   .1/   .V  0  !•  Q   R  S  T   C   V   W  JT  V  2 

f]  ■'    1'   ' f   a  li    i    J    k    1    III   1.   .,  ],  .,    1-   s    t   u  V  w   X  )•   I 

^1  ,1   I,  ,    ,1   r   1   „  n    i    ]    k    1    m   n   „  1,  ,,   r  ,    t   VI  V   w   X  ]l  z 

d  "    "■    "-   "■   "■  "■ 

d""'"'""-'    "    "' 

J  ,.:;•;!(  1  ■  ■           J  1  :;  :i  4  .■-,  e  7  8  9  o  s 
J   .  .   :   :  y   ■  (  1  ■  ■             J  i  -'  .)  J  .!  0  7  «  J  0  J 

Roman  and  Bold  (  A  522  ) 

^,    1   2  3   ,    r,   „   T   H  >.   0 

One-Letter  (A 356) 

d       ^     [  J  -  /  -,  •  t ) 

(1  i  }  U  3  J  5  J  IS  S  S  V,  V.  %  '4  %  %  V,  '/!,%%%%  ',k 

d "" "" ""  "^ ' "• ""  ■■' 

LARGE  (For  10  to  14  Point  Faces) 

Roman  and  Italic  (A 356) 

(-J  A  I!  ('  I)  E  F  <;  11  1 .1  K  L  M  N  O  I'  (i  K  .S  T  V  V  W  X  Y  Z 
^A  BC  D  E  F  G  H  l.J  K  I,  M  .V  0  1' Q  R  S  T  r  V  \V  X  Y  Z 

^  a  b  f  d  0  f  K  li  i  j  1^  •  "1  "  <»  p  q  r  s  t  u  v  w  x  .v  •/. 

^1  a  b  c  d  r  f  (J  h  i  j  Ic  I  in  n  a  p  q  r  a  t  u  v  w  x  y  z 

-4  er  ie  He  nif  re  tp  ve 

,J  er  ie  lie  vie  re  te  re 

(],.::?!  1    1   •  ■         ^  1  L'  .S  4  .I  (i  7  8  i)  0  $  £ 

^,  .  :  ;  f  ;  (  )  ■  '        J  /  .'  .f  1  .;  «  7  g  :i  0  S  £ 

Roman  and  Bold  (  A  522  ) 

A  1  'J  :i  4  r.  i;  7  n  »  (i 

J  1  J  .3  4  5  (5  7  8  <»  0 

One-Letter  (A 356) 

d-   .---1   1       /'^M 

(J  J  1  S  J  8  M  i  n  i  «  ?.  *  i  Vi  V2  % 

f\+  -  X  -i-  =  ±  +  E  ■"■>::•?/  oo  \ 

^♦•*»AX»iO0®eQAO*tt# 
fl  a  3  -y  7?  1  T 

INFERIOR    CHARACTERS    are    made    in    two       with   the    descenders   in   each   point   size   of  the 
sizes   only.   The   smaller   size    is   made   on   ea  h       major  characters.  Therefore,  in  ordering,  it  is  nec- 
alignment  from  5  to  9  point  and  the  larger  on       essary  to  indicate  the  point  size  (alignment)  de- 
each  alignment  from   10  to  14  point  so  that  the       sired,  taking  into  consideration  the  alignment  of 
descenders  of  the  inferior  characters  may  align       the  face  with  which  the  inferior  is  to  be  used. 

SMALL  (For  5  to  9  Point  Faces) 

Roman  and  Italic  (A 406) 

q   A   B  C  U  E   F  G  H   I   J   K   I.   M   N  O  P  Q  R   S  T  U   V   «•   X   V   Z 
q   A   B  C  D   E  f  O  H  I  J  K   L   U  X  0  P  Q   K  S   T  U   y  W  J  r  Z 
qabcclefghlJklninopiirstUTWxyz 
qabrdefghijktmnopqrstuiirxvz 
q. -:?!()-•         qi2345e7sno 
q  .      .  }  '  f  1  -  '        q  I  :  .t  i  5  6  7  8  'J  0 

Roman  and  Bold  (A 524) 

q  1   2  ;i  4  .-  H  7  8  It  (1 
qia345fi7890 

One-Letter  (A 406) 

(See  Superior  Characters) 

LARGE  (For  10  to  14  Point  Faces) 

Roman  and  Italic  (A 406) 

qABCDEFGHIJKLMNOPQRSTUVWXYZ 
^ABCDEFOHIJKLMN0PQRSTUrWXYZ 

Q  a  b  0  d  e  f  g  h  i  j  k  1  m  n  0  p  q  r  s  t  11  V  w  X  y  z 
^.  a  b  e  d  e  f  y  h  i  j  k  I  III  n  1)  p  q  r  s  t  u  r  «■  x  y  s 
q  ..:;?!(    1  '  •         fl  1  i;  .'J  4  5  (i  7  8  i)  n 
'^  .::?:()■  '         *■{  1  2  .(  1  ■;  '1  7  8  W  1) 

Roman  and  Bold  (A 524) 

fj  1234567890 
q  1  2  .3  4  5  G  T  8  9  0 

One-Letter  (A 406) 

(See  Superior  Characters) 

892  b 


1- 


RULED  FORMS 
AND  TABULAR 
WORK  ON  THE 
LINOTYPE   «   i 


MERGENTHALER 
LINOTYPE    COMPANY 

BROOKLYN,  NEW  YORK 

Neil'  York  City,  Chicago,  Snu  Frdiic'isco.  Neir  Orleans 

Caudd'nu/  Jjtiotype,  L'nn'ited,  Toronto 

Hefresoi/utiits  hi  tht  l'rnicil>ut  Cilirs  oj  the  World 


RULED  FORM  MATRICES 


A  complete  series  of  characters  for  setting  the 
most  intricate  Ruled  or  Leader  form  is  available 
and  will  be  of  particular  value  to  printers  spe- 
cializing in  this  class  of  work.  With  them  it  is 
possible  to  produce  on  the  Linotype  an  endless 
variety  of  work  of  this  kind  at  low  cost. 

The  vertical  characters  are  made  in  four 
sizes  (6,  8,  10  and  12  point)  in  two-letter  mat- 
rices and  in  two  sizes  (18  and  24  point)  in  one- 
letter  matrices.  The  horizontal  characters  are 
made  in  two  sizes.  The  12  point  size  will  align 


with  the  cross  strokes  of  any  of  the  two-letter 
sizes  while  the  24  point  will  align  with  either  of 
the  one-letter  sizes.  When  ordering  rule  and 
leader  matrices,  specify  A354  as  well  as  the 
point  size  and  character  number  desired. 

The  following  is  a  complete  list  of  the  char- 
acters available,  with  the  width  of  each  charac- 
ter indicated  in  points,  the  decimal  equivalents 
of  which  are:  2  points,  .0277;  3  points,  .0416; 
6  points,  .0833;  12  points,  .1666;  18  points,  .250; 
24  points,  .3333. 


12  POINT,  TWO-LETTER 


Verticals 


Extensions  and  Leaders 


Verticals 


Extensions 


No.  1 
3  Points 


No.  8 
3  Points 


No.  2 
3  Points 


No.  3 
3  Points 


No.  4 
2  Points 


No.  5 
3  Points 


No.  6 
6  Points 


No.  7 
12  Points 


No.  22 
18  Points 


No.  23 
24  Points 


No.  24 
3  Points 


No.  37 
3  Points 


No.  35 
3  Points 


No.  36 
3  Points 


No.  18 
2  Points 


No.  19 
3  Points 


No.  20 
6  Points 


No.  21 
12  Points 


24  POINT,  ONE-LETTER 


Verticals 


Extensions  •  Leaders 


Verticals 


Extensions 


Verticals 


Extensions 


No.  1  No,  la 

3  Points  3  Points 


No.  8 
3  Points 


No.  2 
3  Points 


No.  3 
3  Points 


No.  8a 
3  Points 


No.  2a 
3  Points 


No.  3a 
3  Points 


No.  4 
2  Points 


No.  5 
3  Points 


No.  6 
6  Points 


No.  7 
12  Points 


No.  23 
24  Points 


No.  4a 
2  Points 


No.  .=;a 
3  Points 


No.  6a 
6  Points 


No.  7a 
12  Points 


No.  35 
3  Points 


No.  35a 
3  Points 


No.  36a 
3  Points 


No. 
18  P 

22a 
aints 

No. 
24  P 

23a 
Dints 

No.  36 
J  Points 


No.  18a 
2  Points 


No.  19a 
3  Points 


No.  20a 
6  Points 


No.  21a 
12  Points 


No.  24 
3  Points 


No.  37 
3  Points 


No.  37a 
3  Points 


No.  24a 
3  Points 


No.  18 
2  Points 


No.  19 
3  Points 


No.  20 
6  Points 


No.  21 
12  Points 


894 


OVERLINE  FIGURES 


Special  Figures  with  overline  for  use  with  the 
12  and  18  point  sizes  of  box  and  rule  matrices  are 
made  with  a  hairline  stroke  over  the  figure,  the 
stroke  aligning  with  the  horizontal  character  of 
the  box  and  rule  matrices  when  used  in  the 
same  line.  These  figures  are  used  for  line  num- 


bers in  sales  slips.  The  12  point  is  used  for  12 
point  spacing  between  lines  and  the  18  point 
size  for  18  point  spacing.  The  following  is  a  list 
of  the  characters  available  in  both  the  12  and 
18  point  sizes.  When  ordering,  specify  A354  and 
point  size  and  character  number  desired. 


No.  25 
1 

T 


No.  .'(-, 

2 
2 


12  POINT,  TWO-LETTER 

W'mIUi  ..1  ili.ii.i.  ti-i    A  iiMiiits  ur  JJ^S! 

Nn.    JK  N.i.    ."'  Xn.    .ill  Nn.    .11 


5  6 

5  6 


No.  25 


No.  26 

2 


IS  POINT,  ONE-LETTER 

Widtli  .11  di.ira.  Irr  ',  ii.uiit-,  ..r  .08,11 
N.I.  M  .N.i.  _"(  .Nn.  .1(1  .\,,.  .11 


No.  .33 

9 


No.  .34 

0 


VERTICAL  LEADERS 


Blank  ruled  forms  of  any  size  can  be  composed 
easily  on  the  Linotype  by  the  use  of  leader  mat- 
rices punched  vertically  ( \ )  instead  of  horizon- 
tally (.--.).  The  production  of  these  forms  is 
simply  a  matter  of  recasting.  Determine  the  ex- 
act amount  of  space  required  between  the  hori- 
zontal leader  lines,  set  a  single  line  of  matrices 
with  the  vertical  leaders,  pi-operly  spaced,  and 
recast  a  sufficient  number  of  slugs  to  fill  the  re- 
quired space.  Brass  rules  can  be  easily  inserted 
between  the  slugs  where  desired. 

Vertical  leaders  are  made  in  6  to  30  point 
sizes  in  the  following  styles:  6  point,  2,  3  or  4 
dots,  and  2,  3  or  4  strokes;  8  point,  4  or  6  dots, 
and  2  or  4  strokes;  10  point,  6  dots,  and  2,  4  or 
6  strokes;  12  point,  2,  4  or  6  dots  and  2,  4,  6  or  8 


strokes;  14  point,  6  strokes;  18  point,  9  strokes; 
24  point,  12  strokes;  30  point,  14  strokes. 

The  width  of  columns  is  regulated  by  the 
number  of  slugs  used.  Where  6  point  slugs  are 
used,  the  column  widths,  or  distance  between 
down  rules,  will  be  multiples  of  6  point  and  with 
12  point,  multiples  of  12  point.  Spacing  between 
horizontal  rule  or  leader  lines  may  be  varied  to 
suit  any  requirement. 

When  ordering  vertical  leader  matrices,  spe- 
cify the  point  size  and  style  desired.  The  mat- 
rices are  all  made  on  a  uniform  setwise  size  of 
.0553,  or  4  points. 

The  accompanying  specimen  shows  how  the 
matrices  are  used,  the  first  line  being  opened  up 
to  make  the  illustration  clear. 


895 


VERTICAL  SLUG   MATRICES 


These  matrices  differ  from  ordinary  matrices 
in  that  the  characters  are  punched  horizontally 
instead  of  vertically.  When  cast,  they  appear 
one  below  another  on  the  vertical  slug,  instead 
of  side  by  side  as  on  the  usual  slug.  In  making 
up  the  form,  the  vertical  slugs  are  placed  ends 
up  and  arranged  side  by  side.  The  slugs  give 
perfect  alignment  of  the  figures  and  permit  of 
the  insertion  of  ordinary  brass  rule  between  the 
columns. 

The  general  rule  is  that  these  figures  cast  on  a 
slug  one-half  their  point  size,  so  that  the  same 
space  will  appear  between  two  or  more  figures 
on  the  vertical  slugs  as  would  be  the  case  with 
normal  setting  on  horizontal  slugs.  No  special 
equipment  is  required  for  the  use  of  10-  or  12- 
point  matrices.   For  6-   and  8-point  matrices, 


which  call  for  3-  and  4-point  slugs,  respectively, 
special  mold  liners,  ejector  blades,  ejector  blade 
links  and  an  ejector  blade  guide  are  required. 

Three-  and  4-point  liners  can  be  used  in  the 
regular  Universal  Adjustable  5-  to  14-point 
mold  by  filing  the  banking  screws  so  that  they 
will  not  project  above  the  liners.  Ejector  blades, 
links  and  the  guide  to  eject  4-point  slugs  need 
not  be  replaced  by  the  regular  parts  when  cast- 
ing larger  slugs.  However,  this  will  be  necessary 
in  the  case  of  the  similar  parts  for  the  3-point 
slugs  incidental  to  the  use  of  6-point  vertical 
slug  matrices.  The  knife  block  can  be  set  to  trim 
either  3-  or  4-point  slugs  by  readjusting  the 
right  hand  knife  5-point  setting  screw. 

Vertical  slug  matrices  are  available  as  shown 
in  the  following  faces  and  sizes: 


6  Point  No.  2  (6A49) 


ith  Gothic  No.  6  (6A56) 


»-<TlCO--S^U^CDt-CCClO 


0+<K-> 


8  I'oint  No.  2  with  Gothic  No.  6  (8A4) 
T-HMcC'^iococ-oocwO      -«SQ-      t4-iM        -    .^^i       HMt^MPw     e^-^t^^ 
*-CMco**-ir>coi»^ooos^      «xZo.      «4-iv:         -    ■  ■ —  ^^.  I       ^,j  ^N  m^     v^  -^  >^ " 

<  0+0<->       ^ -t<n»o;ci-«c.c 

<  0+0<->      ' . '      -t«!«»«et-«e<»o 

10  Point  DeViiine  with  Antique  No.  3  (10A64) 

i-^  c-i  r:  -ti  lO  ic  i^  oc  Ci'  o     -<  s  d-     ti-       |    i     -cf}-  -^i^cfj  -■--,  z^.    * 

;  H'*  «!*  H»  Hn  c*c  H'-'^ «!«  «('.i  t^o  H®  ''^~ 
12  Point  DeVinne  with  -Antique  No.  3  (12A38) 

T— I  cci  CO  ^  I  c  '"o  c^  c»  Oi  o     -   •    1    I     -ee-  5+^  -^£-\.  ^. 

•     1      I       ^^C44  -^^-^^o-s 


*     -H-C^ao^^** 


»-ic<ico'«*<mcoc^oocso 


--l-^-t=l  "-cP^O 


X    II 
X    II 


VERTICAL  GOTHIC 

For  food-store-ad  work,  a  valuable  aid  both  to      densed  No.  2.  These  characters  are  cast  hori- 
condensation    and    economical    composition    is      zontally  on  the  slug,  like  this: 
found  in  the  Vertical  Characters  of  Gothic  Con- 

The  slugs  are  cut  to  the  proper  length  and  inserted  between  the  large  figures,  like  this: 

6i29c   5J48C   4125c 

Complete  alphabets  are  available  in  6-,  10-  and      the  center  of  a  6-point  slug,  the  12-point  in  the 
12-point  sizes.  The  6-  and  10-point  sizes  cast  in      center  of  an  8-point  slug. 


6  Point  (6A123) 


}UOUJU.C9Z 


I  CS  ^  LU  LI-  cs  : 


10  Point  I10A137) 


12  Point   l)-"Al=;3l 

:  I  Z£  ^  ^  Q-  c^'oc  cyi 


X  >—  f^ 


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897 


GERRARD  MORGAN  8  COMPANY 

HIGHEST  QUALITY  DRESS  GOODS 

i                                                                    LITTLE  ROCK.  ARKANSAS 

Shipoedbv                                                                              Date                                      10 

NO. 

CODE 
WORD 

NAME    AND    ADDRESS 
OF    BUYER 

GRADE 
ABC 

STOCK 
NO. 

SHIPPED 
VIA 

1 

2 

3 

4 

5 

6 

7 

8 

!       9 

i      10 

\     11 

For  Office  Record  Only 

Salesman's  Quotation 

\      12 

;      13 

Ctistnmpr 

:      14 

Street  Address _     -    —      ..  

:      15 

\      16 

City  or  To 

tvn 

;      17 

Quanlily 

1 

Description 

Price 

i  18 

19 

j      20 

\      21 

SPECIFICATIONS 

Rpmnrks 

ABOVE — Set  with  18  point  Box  and  Rule  Matrices  Nos.  1, 
5,   6,   7,   8,  22  and  23   and   6   point   Matrix   No.   8.     Hori- 

zontal rules  are  brass.    18  point  Special  Figures  with  over- 
line,   as   shown  on   page    3,    were   used    for   line   numbers. 
Type:  6,  8,  10,  12  and  18  point  Benedictine. 

RIGHT— Set  with  12  point  Box  and  Rule  Matrices  Nos.   1, 

Ship  via : 

Order  No -._. Date _   i 

3,   5,   7,   22   and   23.     Horizontal  rules   cast   from    2    point 
Matrix    Slide    No.    301.     Type:    6,    8,    12    and    18    point 

Salesman . 

Bodoni. 

898 


STORAGE  RECORD  CARD 


DRAWER,    SECTION 
AND  DIVISION 


DESCRIPTION   OF 
PARCEL 


OWNER   OP 
PARCEL 


DATE   OF 
DELIVERY 


SPECIFICATIONS 

LEFT— Set  with  12  point  Box 
and  Rule  Matrices  Nos.  1,  6,  8, 
20,  21,  23  and  35.  Top  rule  is 
cast  from  2  point  Matrix  Slide 
No.  404.  Type:  12  point  Gothic 
No.  33a  and  6  i)oint  (Jothic  Xo. 
33b. 

BELOW— Set  with  6  and  18  point 
Box  and  Rule  Matrices  Nos.  1, 
3,  22  and  23.  The  horizontal 
parallel  rules  are  brass.  Tyi)e: 
6  point  Bold  Face  No.  9,  9a  and 
9c;  12  point  No.  9a  and  18  point 
9a,  with  single  rules  composed 
of  leader  aligning  dashes. 


SPECIFICATIONS 

BELOW — Set  with  6  point  Box  and  Rule  Matrices  No. 
1  and  24  point  Nos.  1,  la,  5  and  6.  The  horizontal 
liarallel  rules  are  brass.  Type:  12  point  Bold  Face  No. 
9b  and  6  point  Nos.  9  and  9a. 


DEPOSITED  BY 


COATESVILLE 

NATIONAL  BANK 


DATE_ 


PLEASl^  LIST  EACH   CHECK   SEPARATELY 


CHECKS 


TEAMSTERS   DAILY  REPORT 


TEAMSTER 


D.VTE 


FEET 


TIME  REMARKS 


899 


KINGSLY  8  STEELE  COMPANY 

EVERYTHING  IN  COTTON 

GIRARD,    TEXAS 

19 

Account  Sales Bales  Cotton 

Bought  of M 

No 

NUMBERS 

MARKS 

WEIGHT 

PRICE 

AMOUNT 



■ 

1 

Title 

F»4 

RTNO 

, 

TRAY  NO,                                                                                       VAT.tn 

^ 

DATE         ORDER 

CREDITS 

DATE 

ORDER 

DEBITS 

BALANCE 

VALUE 

SPECIFICATIONS 
STATEMENT— Set  with   12  point  Vertical  Leaders.    Hor-  INDEX  CARD— Set  with  12  point  Vertical  Leaders.  Hor- 


izontal and  vertical  rules  are  brass.  Type:  6,  8,  10,  12 
and  18  point  Benedictine,  with  dotted  lines  composed  of 
Universal    six    dot    leaders. 


i2ontaI  and  vertical  rules  are  brass.  Type:  6  point  Bold 
Face  Nos.  9  and  9a,  and  12  point  No.  9c,  with  single  rules 
composed  of  leader  aligning  dashes. 


900 


Linotype  Leaders 


A  summary  of  the  various  styles  of  leaders 

available  on  the  Linotype  — designed  to  meet  differing 

printing  and  publishing  conditions 


REGULAR  LEADERS  match  the 
weight  of  face  with  which  they  are  used 
and  cast  type  high.  Furnished  in  round 
dot  or  hyphen  style  in  two,  four  or  six 
dots  or  strokes  to  the  em. 


NEWSPAPER  LEADERS.  The  regu- 
lar round  dot  or  hyphen  leader  .005 
shallower  than  type  high  to  minimize 
punching  through  the  paper. 


UNIVERSAL     LEADERS     are     for 

book  and  jobbing  work.  The  weight  of 
the  dot  or  stroke  is  uniform  in  all  point 
sizes  regardless  of  the  style  of  the  face 
with  which  they  are  used.  These  leaders 
are  .003  shallower  than  type  high,  so 
they  will  not  punch  through  the  paper 
in  printing.  Universal  round  dot  leaders 
are  furnished  two,  four  and  six  dots  to 
the  em,  and  hyphen  leaders  in  two  and 
four  strokes  to  the  em. 


NEWSPAPER  RADIAL  LEADERS, 

round  dot  style  only,  are  made  with  a 
rounded  or  radial  printing  surface  to 
prevent  perforating  paper  and  damag- 
ing press  blankets.  .005  shallower  than 
type  high. 


LEADER  ALIGNING  DASHES  cast 
a  continuous  unbroken  line.  Useful  for 
jobbing  work.  Can  be  supplied  in  all 
standard  alignments  in  uniform  set- 
widths  of  2,  3  and  12  points.  Also  avail- 
able in  en  and  em  widths  as  substitutes 
for  regular  dot  or  hyphen  leaders. 


THIN  LEADERS  are  used  with  either 
of  the  above  styles  for  close  justification 
when  only  one  spaceband  is  used  in  the 
line.  Available  in  quarter-em  widths  in 
round  dot  or  hyphen  style,  8,  10,  12  and 
14  point  sizes. 


JOBBING  LEADERS  are  made  in  6, 
8,  10,  12  and  14  point  alignments,  two 
and  four  strokes,  and  on  6  and  12  point 
set-width  only.  The  weight  of  the  stroke 
and  the  set-width  of  the  character  is 
uniform  in  all  point  sizes. 


zC     LINOTYPE     )= 


MERGENTHALER  LINOTYPE  COMPANY,  BROOKLYN.  N.Y. 

New^  York  City,  Chicago,  San  Francisco,  New  Orleans.  Canadian  Linotype, 
Limited,  Toronto.  Representatives  in  the  Principal  Cities  of  the  World 


(n,.o  LINOTYPE"") 


Universal  Dot  Leaders 


12  point 

6Dots  to  the  em 


10  poinl 

4  Dots  to  the  em 


9  point 

4  Dots  to  the  em 


8  point 

4  Dots  to  the  em 


APPLICATION  of of  

State  of  for  indemnity  against  loss  or  damage 

by  Fire  and  Lightning by  ROYAL 

INSURANCE  COMPANY,  Limited,  in  the  sum  of 

specified,  commencing  on  the  day  of 19 


APPLICATION  of of State  of 

for  indemnity  against  loss  or  damage  by  Fire  or  Lightning 

by  ROYAL  INSURANCE  COMPANY,  Limited,  in  the  sum  of 

commencing  on  the    day  of 19. 

Rate  for  Dwelling  and  Contents  Garage  Barn  Buildings 


APPLICATION  of of  State  of 

for  indemnity  against  loss  or  damage  by  Fire  or  Lightning    

by  ROYAL  INSURANCE  COMPANY,  Limited,  in  the  sum  of    

commencing  on  the  day  of  19 

Rate  for  Dwelling  and  Contents  Garage  Barn  Buildings 


APPLICATION  of  of the  term  of years,  on  property 

State  of  for  indemnity  against  as  below  specified,   commencing  on  the 

loss   or  damage   by   Fire   and   Lightning  day   of 19 

by  ROYAL  Rate  for  Dwelling  and  Contents 

INSURANCE  COMPANY,  Limited,  in  the  Garage  Barn  Buildings 

sum  of  DOLLARS,  for  Barn  Personal  Live  Slock 


12  point 

4  Strokes  to  the  em 


10  point 

4  Strokes  to  the  em 


9  point 

4  Strokes  to  the  em 


8  point 

4  Strokes  to  the  em 


Universal  Hyphen  Leaders 

APPLICATION  of of 

State  of for  indemnity  against  loss  or  damage 

by  Fire  and  Lightning by  ROYAL 

INSURANCE  COMPANY,  Limited,  in  the  sum  of 

specified,  commencing  on  the day  of 19 


APPLICATION  of of State  of 

for  indemnity  against  loss  or  damage  by  Fire  or  Lightning 

by  ROYAL  INSURANCE  COMPANY,  Limited,  in  the  sum  of 

commencing  on  the day  of 19. 

Rale  for  Dwelling  and  Contents Garage Barn  Buildings 


APPLICATION  of... of ..State  of 

for  indemnity  against  loss  or  damage  by  Fire  or  Lightning 

by  ROYAL  INSURANCE  COMPANY,  Limited,  in  the  sum  of 

commencing  on  the  day  of 19 

Rate  for  Dwelling  and  Contents Garage Barn  Buildings 


APPLICATION  of of  the  term  of years,  on  property 

State  of for  indemnity  against  as   below  specified,   commencing    on  the 

loss  or  damage  by  Fire   and   Lightning        day   of 19 

by  ROYAL      Rate  for  Dwelling  and  Contents 

INSURANCE  COMPANY,  Limited,  in  the      Garage Barn  Buildings 

sum  of DOLLARS,  for      Barn  Personal  Live  Stock 


902 


The  specimens  above  are  set  in  Linotype  Excelsior  with  Memphis  Bold,  and  Excelsior  with  Bold  Face  No.  2  in  the  sizes  indicated 


Jobbing  Leaders 

.6  Point.  _ 6^354 

.8  Point- 8A354 

.10  Point 10  A  354 

.12  Point 12^354 

.14   Point 14A354 


l-l  — -I 
I. -I  — -I 
l-l  — -I 
I-I-  — I 


0     LINOTYPE""') 

6  to  14 
point 

6  and  12  point  set 
widthisonly 


SPECIMENS  OF  JOBBING  LEADERS   IN  USE 


1  —  398  to  2240 


Part  No. 
398... 
399... 

400... 

401... 
403... 
406... 
408... 
409... 
411... 
415... 
416... 
417... 
419... 
420... 
421... 
422... 
423. -- 
424... 
429... 
430... 
442... 
443-. - 
447... 
466... 
484... 
487... 
493. -- 
499... 

503... 

507. 

523. 

525. 

526. 

527. 

531. 

537. 

538 

539. 

540. 

543. 

544. 

551. 

571. 

572. 

578. 

579. 

581. 

582. 

583. 

584. 

585. 

586. 

588. 

590. 

591. 

631. 

657. 
659. 
661. 
662. 
665- 


Price 
7.00 
2.05 

1.95 
2.75 

.17 
1.95 
6.75 

.65 
3.40 

.45 

.:o 

.30 

17.25 

.40 

.35 

.17 

.45 

.03 

.22 

.03 

.01 

.50 

1.20 

.01 

.05 

2.20 

1.20 

.06 

.10 

1.20 

.04 

.02 

.55 

.04 

2.75 

3.00 

.40 

.10 

.35 

2.85 

6.35 

.07 

.40 

.09 

16.80 

2.05 

7.15 

,  1.00 

.65 

,  1.00 

,  2.05 

.  1.70 

.  8.55 

.45 

.10 

.  4.90 

.  3.20 

.  4.70 

.12 

.11 

.14 


Part  No 
667-. 
668-. 
684.. 
685.. 
687.. 
692.. 
697.. 

703.. 

738.. 
742.. 
743.. 
744.. 
745.. 
759.- 
791.. 
792.. 
795.. 
796-. 
797.. 

801- 

802- 

804- - 

805.. 

806.. 

807.. 

809.. 

818.. 

819- - 

837.. 

838.. 

847.. 

859.. 

860.. 

861.. 

864.. 

865.. 

878. 

883- 

887. 

889. 

890- 

891- 

892- 

893- 

894 

896- 

897. 

898. 

920. 

922. 
927. 
928- 
931- 
932- 
933- 
935- 
940. 
941. 
942. 
943. 
944. 


Price 

.06 

3.05 

2.50 

5.50 

2.20 

.65 

.25 

.35 

.03 

.08 

.30 

.17 

.22 

.22 

2.50 

.35 

2.00 

1.85 

.12 

4.40 

.45 

.17 

.12 

.70 

.06 

4.50 

.75 

.75 

.04 

2.75 

3.30 

.03 

.35 

.15 

1.85 

1.60 

3.30 

1.15 

.22 

.95 

.06 

.22 

.45 

2.05 

2.05 

.30 

.55 

1.75 

.50 

.11 
1.95 
.22 
1.50 
.22 
.08 
.09 
.07 


.02 
1.00 


946., 
947. 
948. 
950. 
951. 
952. 
953. 
960. 
961. 
966. 
967. 
968. 
974. 
989. 
991- 
993- 
994- 
995. 
996. 
997. 
998. 

1004 

1011. 
1014. 
1020. 
1021. 
1024- 
1025. 
1026. 
1028. 
1032. 
1033- 
1034. 
1035. 
1036. 
1037. 
1042- 
1043. 
1046. 
1050. 
1051. 
1054. 
1064. 
1077. 
1078. 
1079- 
1082. 
1094. 
1095. 
1096 
1097. 
1098. 
1099. 

1103. 

1104. 
1105. 
1106. 
1112. 
1120. 
1121. 
1126. 
1146. 


Price 
.30 
.08 
.55 
.90 

2.75 
.20 
.22 

1.60 

1.20 
.50 
.11 
.20 
.17 

1.30 
.03 

1.00 

2.30 
10.20 

4.00 
.08 

7.55 

.02 

.30 

7.90 

.01 

.05 

.07 

4.70 

.95 

.70 

2.75 

.17 

.65 

3.30 

2.15 

2.15 

.04 

.18 

8.00 

1.00 

3.95 

7.60 

13.35 

14.70 

.90 

.22 

.04 

5.25 

2.50 

.10 

.07 

4.50 

6.60 

5.80 

.07 

1.20 

.40 

.     4.15 

.35 

33.85 

.04 

.07 


Part  No.         Price 

1150 40 

1157 55 

1159....       .08 


Left  I'rice  List,  in  (,  ;iihI  X  pciiit  Hell  Gothic  Lislit  and  Bold,  using 
6  and  H  point  l^inutype  J.iljljinji  Leaders.  Display:  Memphis  Extra 
Bold  and  10  point  Memphis  Hold.  Rules;  .'  point  Plain  Rule  Matrix 
Slides  No.  401  and  4i).s. 

Below:  Contents  pane  from  llundbook  of  Clicmistry  and  Physics, 
published  by  Chemical  Rubber  (  o.,  Cleveland.  Ohio;  set  in  10  point, 
8  point  No.  I  and  6  point  Kxcelsior  with  Italic  and  Small  Caps  with 
Linotype  Jobbing  Leaders. 


CONTENTS  vii 

Specific  Gravity  of  Aqueous  Solutions  of  Methyl  Alcohol  729 

Immersion  Refractometer  Readings  of  Methyl  Alcohol  .  733 

Specific  Gravity  of  Gases  and  Vapors  734 

Properties  of  Matter ^ 735-771 

Density        735-748 

Density  of  the  Elements 735 

Density  of  Alloys 737 

Density  of  Various  Solids 739 

Density  of  Water  .   740 

Density  of  Various  Liquids 741 

Density  of  Alcoliol 741 

Hydrometer  and   Density   Units,   Hydrometer   Conversion 

Tables 742 

Absolute  Density  of  Water 744 

Relative  Density  of  Water 745 

Density  and  Volume  of  Mercury 746 

Density  of  Dry  Air 747 

Density  of  Saturated  Vapors  at  the  Temperature  of  Normal 

Ebullition 747 

Density  of  Gases  in  Liquid  and  Solid  Form. 748 

Elasticity 749-753 

Elastic  Constants  for  Solids. 749 

Compressibility  of  Liquids 750 

Elastic  Constants  for  Gases 753 

Coefficient  of  Friction 754 

Resistance  to  Crushing  for  Various  Materials.. 754 

Tensile  Strength  of  Metals 755 

Modulus  of  Rupture,  Transverse  Tests  for  Wood 755 

Hardness  .  - 756 

Surface  Tension - 757,  758 

Surface  Tension  of  Various  Liquids  in  Contact  with  Air 757 

Surface  Tension  of  Aqueous  Solutions    757 

Surface  Tension  of  Fused  Solids 758 

Surface  Tension  of  Water  and  Alcohol 758 

Viscosity    759-766 

Viscosity  of  Water 759 

Viscosity  of  Liquids 760 

Viscosity  of  Gases  766 

Diffusion  of  Gases  into  Air 770 

Diffusion  of  Aqueous  Solutions  into  Pure  Water ...  770 

Osmotic  Pressure  of  Aqueous  Solutions 771 

Heat^^^  772-840 

Conversion  of  Thermometer  Scales 772 


903 


Leader  Aligning  Dashes  and 
Newspaper  Radial  Leaders 


Bclozv:  Label  set  in  8  point  IJudoni  Book  with  True-Cut  Small  Caps, 
and  18  point  Boduni  Book.  Rules:  Leader  Aligning  Dashes.  5JS  point 
Ornamental  Dash  Matrix  Slide  No.  984  lengthened  with  6  point  Plain 
Rule  Matrix  Slide  No.  423. 


No.. 


.i9_ 


BEESWAX  SPECIALTIES,  INC. 

Cashier: 

Please  pay  bearer  on  presentation  $ 


FOR- 


STREET- 


CITY_ 


FROM_ 


AT 


THE  CAVENDISH  HOUSE 

STATE  AT  TWENTY-THIRD   STREET 
WOODHAVEN  PARK,  IOWA 


Dollars 


Jc: 


Charge  to. 


Received  by. 


Above:  Cashier's  Slip  set  in  24  point  Caslon  Old  Face  Small  Caps,  and  14  point  Caslont: 
Old  Face  with  One-Letter  Italics  and  Small  Caps,  and  Leader  Aligning  Dashes.  Decora- 
tion:  12  point  Border  Matrices  Noi  1099  and  1100. 


Stock  and 
Dividend  in  Dollars. 


Net 
First.  High.  Low   Last.  Chge. 


^Closing- 
Bid.     Ask.  Sales. 


Atlantic  

Bergen  

Burlington  _ 

Camden  

Cape  May  

Cumberland 
Essex  


Gloucester 

Hudson  

Hunterdon 

Mercer 

Middlesex  _ 
Monmouth 

Morris 

Ocean  

Passaic  

Salem  

Somerset 

Sussex  

Union 

Warren 


Total 


E.D. 

Miss. 

49 

138 

.  488 

358 

358 

93 

50 

69 

576 

72 

653 

39 

139 

94 

181 

149 

114 

57 

215 

.  221 

29 

69 

35 

.  433 

266 

.   139 

39 

1.424     3,615 


Above:  Election  tabulation,  set  in  6  point  (^pticon 
with  Bold  Face  No.  2  with  Linotype  Leader  Align- 
inK  Dashes. 

Ui^per  Right:  Football  lineup,  set  in  5  and  7  point 
Ionic  X(i.  5.  and  12  point  Bodoni  Bold,  utilizing 
Linotype  Newspaper  Radial  Leaders. 
Lower  Right:  Weather  report,  set  in  5'/j  point  Ex- 
celsior with  Bold  Face  No.  2,  and  7  point  No.  2 
Excelsior  with  Gothic  No.  3,  utilizing  Linotype 
Newspaper  Radial  Leaders. 

Center:  Stock  tabulatif)n,  set  in  6  point  Excelsior 
with  Bold  Face  No.  2.  using  Linotype  Newspaper 
Radial  Leaders.  Running  head:  SVi  point  Excelsior. 


23 
29 
96 
25 

41 '4 

463,4 
51 

1238 

77  V4 
159 1,4 

39 ','4 

81, 4 

180i,i 

1351, '2 

1151 '2 

17 
198 

371 '2 
16 

71,'4 

45-/2 
16 

265,i! 

9214 

2 

8 
29 
60 

78  V4 
93^ 

235t) 
353;, 
281, '4 

141'8 

34i,'4 
63,i 

53/8 
28 

7ir8 

103 
11% 
IIV2 

6 
4334 
455,^ 
41% 
5214 
461,4 
961 '2 
581, '2 

9r8 
58 
98 
541 '2 
183i, 


24      Deere  &  Co  pf  (1.40) 24','2 

173,ij  Deisel-Wem-Gil  (la)  ....   17% 

23      Del  &  Hudson 26 

101,8  Del  Lack  &  West 12i,4 

93^  Det  &  Mackinac t  13 

00      Detroit  Edison   (6g) 105 

2334  Diamond  Match  (la.) 24 

j33      Diam  Match  pf  dVaa)...  363,4 

113,4  Diam  T  Motor  (1 ) 12 

16  V8  Distil  Corp-Seag  11  Vs 

601,2  Dist  Corp-S  pf  ww  (5) . .  .   73 
18      Dixie- Vortex  (lii)  18 

27  Dixie-Vortex  A  (2i,b)..   t  31i,4 

28  Doehler  Die  Cas  (Ig) 301/2 

361,4  Dome  Mines  (2a) 39 

53,4  Dominion  Stores 53,4 

381/2  Douglas  Aircraft    41^/8 

103      Dow  Chem  (2.60g) Ill 

19i'2  "^resser  Mfg  B  (le) 19ii 

21/2  Dunhill  Int   31,4 

142      du  Pont  de  N  (4i4g) 147i/2 

1301,4  du  Pont  deb  (6)    133 

110      Duq  Light  1  pf  (5) tll4 


8      EAST  ROLL  MILLS 93/8 

151      Eastman  Kodak   (8) 175 

27      Eaton  Mfg  ( l%g) 273,4 

71 'a  Eitingon  Schild  8i,4 

43/8  El  &  Mus  Ind  ( .18e) 4% 

30i'2  El  Auto  Lite  (2.20g) Slli 

81,8  Elec  Boat  8i'2 

141,8  El  Power  &  Lt 161,2 

57      El  Pow  &  Lt  pf 60 

34  Elk  Horn  Coal •       3^ 

234  Elk  Horn  Coal  pf *  3i,4 

215'8  El  Paso  Nat  Gas  (2) 22% 

48      Endicott-John   (3)    48 

55      Eng  P  S  $5  pf  (5) 56i,'2 

33,8  Equit   Off  Bldg 31/2 

934  Erie  R  R  103,4 

1434  Erie  1st  pf 17 

10i,'2  Erie  2d  pf I214 

4'!'8  Eureka  V  Cleaner eVs 

14=8  Evans  Products  (1) 16 

2      Exchange  Buffet 2i,4 

1%  FAIRBANKS  CO    t     21^ 

15      Fairbanks  Co  pf t  16 

39  Fairbanks-Morse   (la)    .     44 
88      Fed  Lt  &  Trac  pf  (6).    t  88 

41,4  Fed  Mot  Truck   43,4 

41 '2  Fed  Screw  Works    51,4 

21,2  Fed  Wat  Svc  A 2% 

263,4  Federat  D  Strs    (2) 263,4 

31      Fid  P  Fire  Ins  (1.60a).    ..  33 

2634  Firestone  T  c&  R  (IVag)  .  27 

37      First  Nat  Strs  (21,4) 38i'2 

20      Flintkote    (1)    22 

40  Flintkote  pf 44 

37      Florence  Stove  (lV2g)  ■  ■  37 

2%  Follansbee  Bros *     3% 

371, '2  Food  Machin   (2i,'2a) 40i'2 

941,^  Food  Mach  pf  (41/2) t  94V2 

231,2  Foster  Wheeler   26i,4 

6i,'8  Francisco  Sugar   ......     63,4 


24i,'2    24i'2  4- 
17%    17%-K 


24 

171'2 


251,8 
181,4 


100 
200 


Poiiipton  Lakes  Downs 
Clearwater  High  Schoc 

Special  to  the  Herald  Tribune 

PATERSON,  N.  J.,  Sept.  20.- 
The  Pompton  Lakes  High  Scho 
eleven  scored  its  nineteenth  straigl 
triumph,  defeating  an  intersection 
rival,  Clearwater  High,  of  Florid 
13  to  7,  at  Hinchcliffe  Stadium  t( 
night.  The  line-up: 

Pes  Pompton  Lakes  (13)       Clearwater  ( 

L.  E Getfken  Re 

L.  T Van  Beusichem Mi 

L.  G McGoldrick     .    Joi 

C Erickson     Macl 

R.  G Mangus     Blant 

R.  T Rainey    Wap. 

R.  E. . . .  Stagg    Men 

Q.  B Redinger    All 

L.  H. . . .  Cooper     Strai 

R.  H Lefiel     Hare 

P.  B. .. .  Frederick    McMuIl 

SCORE  BY  PERIODS 

Pompton  Lakes   0     6     1     0— 

Clearwater     0     0     0 

Touchdowns  —  Pompton  Lakes:  Stai 
Cooper:  Clearwater:  Merritt. 

Points  after  touchdown  —  Pompton  Laki 
Erickson:  Clearwater:  Merritt. 

Referee  —  Gray.  Vlllanova.  Umpire  —  Lc 
raico,    St.    Peter's.    Linesmen    —    Lynch 
Peter's.  Time  of  periods — Twelve  minutes. 


181,'8       171-2  + 

121,4     13     + 
6i,'8       Bi'a— 


14 


17         181,4         100 

12        13  500 

6  6I2         100 


CITY  WEATHER   RECORDS 

Official  Temperatures:  Humidity  Fron 

8  A.  M.  to  9  P.  M. 

(Daylight  Saving  Time) 


Tern.  Hu 
12  Mid. 55 

1  A.  M 53 

2  A.  M 52 

3  A.  M 52 

4  A.  M 51 

5  A.  M 51 

6  A.  M 50 

7  A.  M 50 

8  A.  M 50 

9  A.  M 56 

10  A.  M 58 

11  A.  M. 60 


Tern.  H 

12  Noon 61 

64 
65 
67 
67 
66 
65 
63 
62 
61 
61 
60 


1  P. 

M 

2  P. 

M 

3  P. 

M 

4  P. 

M 

5  P. 

M 

6  P. 

M 

7  P. 

M 

8  P. 

M 

9  P. 

M 

10  P. 

M 

11  P. 

M 

94  V2  94 1 '2— 
%  26i'8  26i,'8+ 
63,4   63,4— 


94 1^  95      40 
26    27     700 

6 14   71,4    100 


The  following  pages  present  a  complete  showing  of  Linotype  Figures.  They  are 
grouped  under  various  classifications  and  arranged  by  point  size.  Within  the 
point  size  they  are  shown  in  order  of  set-width  size,  alphabetically.  The  sequence 
of  classifications  is: 


Point  Sizr  Ratif/r 

One-Letter,  Roman 5  to   14 

One-Letter, //a/ic 10  to  14 

Two-Letter,  Roman  irith  Italic  4  to  '24 

Two-Letter,  Roman  with  Bold    .       .  4  to  '24 

One-Letter  Display,  Roman  .             .  1(>  to  (iO 

One-Letter  Display,  lUilic    .      .      .  18  to  30 

*Regiilar  Advertising  Figures, 

Roman  and  Italic 10  to  30 

*Special  Advertising  Figures             ,  30  to  48 


Piiinl  Sizf   llantie 

.    IS  to  48 
]San<i'-24 


Superior  Figures: 
One-Letter  Display 
*Regular  Advertising  Figures 

Decimal  Figures (i   to   10 

.       .       .         0   to   1'2 

.      .      .      8  and  11 

.       .       .         0  to   12 


Small  Cap  Figures 
Cancelled  Figures  . 
Vertical  Slug  Figures 


*Thfsr    f(f/M/V',s   a rr    a rra nqtfl   to   show    tt/f/tthtr    till   size's    in    a 
(liven  jamilit.  irilh  thr  familiis  in  (iltihithi  tit-til  ttrdt  r. 


For  ready  interpretation  of  the  set-width  sizes,  consult  the  following  table  which 
shows  the  largest  figures  that  may  be  accommodated  in  the  various  magazines. 


MAIN   MAGAZINE:  Ltninsl  Figurp 

9()-Cliannel,  regular  channels  .    .1107 

90-Channel,  ad.  figure  channels    .  .100 

7'2-Channel 2075 

Wide  72-Channel 249 


AUXILIARY    magazine:  Lari„st  Fiimre 

28-Channel 218 

34-Channei,  left  side 249 

34-Channel.  right  side         221 

Wide,S4-Channel,  left  side 315 

Wide  34-Ciiaiinel.  rigiit  side 311 


Unless  specifically  stated  otherwise,  all  figures  are  to  be  considered  as  being  on 
the  standard  alignment  of  their  point  size. 


-«UNDTYPE«« 


^■• 


Mergenthaler  Linotype  Company^  Brooklyn,  New  York 

NEW    YORK    (   ITY,    CHIf'AffO,    SAN     P'RANCISCO.    NEW    ORLEANS.    CANADIAN     LINOTYPE. 
LIMITED,    TORONTO.     REPRESENTATIVES    IN     THE     PRIN(    ll'AI.    CITIES    OF    THE    \\()RLU 


ONE-LETTER,  ROMAN-S  to  14  Point 


5  Point 

No.  18  (5A1)  Size,  .035 

1231567890 

^2^^4-<r,-890  special  No.  1.  Sire,  .046 

-No.  10  (5A8)  Special  No.  4.  Size,  .0415 
1234567890 

No.  18  (5A1)  Size,  .046 
1234567890  Special  No.  1 

:=GOTHIC  No.  9  (5A10)  Size,  .0692 
I 234567890 

-SPECIAL  GOTHIC  No.  9  (5A6)  Size,  .0692 
(6  Point  Alignment) 
I234567890 
1   Special  No.  1 


51/2  Point 


No.  2  (5V2A5)  Size,  .0385 
1234667890 

No.  3  (5V2A7)  Size,  .0385 
12:54507890 

CLARENDON  No.  1  (SVaAll)  Size,  .046 
1234567890 

No.  1  (5V2A1)  Size,  .046 
1 1!34.-)07890 

BOLD  FACE  No.  1  (5V2A9)  Size,  .063 

ii::54.">fi7S!>o 

-SPECIAL  GOTHIC  No.  9  (5V2A38)  Size,  .083 
(Special  Alignment) 
1  234567890 


6  Point 


GOTHIC  CONDENSED  No.  2  (6A53)  Size,  .0415 
1234567890 

No.  2  (6A21)  Size,  .042 
1234567890 

No.  3  (6A5)  Size,  .042 
1234567890 

No.  12  C6A15)  Size,  .042 
1234567890 

GOTHIC  CONDENSED  No.  4  (6A97)  Size,  .0484 
1234567890 

GOTHIC  No.  3  (6A59)  Size,  .0484 
1234567890  Special  No.  1 

CLARENDON  No.  1  (6Aiq)  Size,  .050 
1234567890 

GOTHIC  No.  3  (6A59)  Size,  .050 
1234567890 

Special  No.  1.  Size,  .0484 
1234567890 

No.  1  C6A1)  Size,  .050 
12.'54567890 

Special  No.  1.  Size,  .056 
1234567S90 

BOLD  FACE  No.  1  (6A57)  Size,  .056 
i:i34.'>«7S!tO 

No.  1  (6A1)  Size,  .056 
1234507890  Special  No.  1 

GOTHIC  No.  16  (6A125)  Size,  .0692 
1234S67890 

BOLD  FACE  No.  3  (6A45)  Size,  .070 
1234567890 

2  7  Special  No.  1 


ROYAL  GOTHIC  (6A29)  Size,  .077 
{7  Point  Alignment) 

1234567890 

i'ROYAL  GOTHIC  (6A226)  Size,  .077 
(7  Point  Alignment) 

1234567890 

4  Special  No.  1 

^SPECIAL  GOTHIC  No.  9  (6A116)  Size,  .083 
(Special  Alignment) 

1234567890 


6 1/2  Point 


IONIC  No.  5 

(6V2A6)  Size,  .0553.  Special  No.  5 

1234567890 


7  Point 

No.  2  (7A21)  Size,  .049 
1234567890 

GOTHIC  CONDENSED  No.  1  (7A43)  Size,  .0553 
(Special  Alignment).  Casts  on  5V2  point  body. 

1234567890 

GOTHIC  No.  4  (7A15)  Size,  .056 
1 234567890 

*GOTHIC  No.  4  (7A60)  Size,  .056 

1 234567890 

No.  1  (7A1)  Size,  .059 

1234507890 

GOTHIC  No.  2  (7A13)  Size,  .063 

1 234567890 

DORIC  No.  1  (7A23)  Size,  .077 

1234567890 

BOLD  FACE  No.  1  (7A31)  Size,  .084 

1  a345<;78»0 

BOLD  FACE  No.  3  (7A27)  Size,  .084 

1234567890 

*BOLD  FACE  No.  3  (7A52)  Size,  .084 

1234567891) 


8  Point 

GOTHIC  CONDENSED  No.  2  (8A39)  Size,  .0484 

1234567890 

1234567890  ^P^"^'^'  '^°-  ^1  '^^  P'-  alignment 

RUSSIAN  CHURCH  (8A101)  Size,  .0484 
1234567890 

LINO  TEXT  (8A151)  Size,  .0553 
1234567890 

TITLE  No.  1  (8A29)  Size,  .056 

1234567890 

1234567890 

CLARENDON  No.  1  (8A25)  Size,  .059 
(High  Alignment) 

1234567890 

CLARENDON  No.  1  (BA91)  Size,  .059 

1234567890 

GOTHIC  No.  3  (8A41)  Size,  .059 
(High  Alignment) 

1234567890 


No.  1  (8AI)  Size,  .059.  (High  Alignment) 

12345(;7S90 

BOLD  FACE  No.  6  (8A105)  Size,  .0622 

1234567890 

GOTHIC  CONDENSED  No.  1  (8A69)  Size,  .0622 

1234567890 

'i-GOTHIC  No.  8  (8A130)  Size,  .0692 

1234567890 

PABST  EXTRA  BOLD  (8A392)  Size,  .0692 
1234567890 

REMINGTON  TYPEWRITER  with  Underscore 
(8A32)  Size,  .0692 

1234567890 
1254567890 

BOLD  FACE  No.  1  (8A131)  Size,  .070 

(High  Alignment) 
1234567890  Special  No.  1 

IONIC  No.  1  (8A85)  Size,  .070 

1234567890 

^ANTIQUE  BLACK  No.  1  (8A314)  Size,  .0742 

1234567890 

GOTHIC  No.  16  (8A159)  Size,  .083 

1234567890 

•"GOTHIC  No.  16  (8A260)  Size,  .083 

1234567890 

GOTHIC  No.  41  (8A157)  Size,  .083 

1234567890 

CELTIC  No.  1  (8A59)  Size,  .084 

1234567890 

BOLD  FACE  No.  9  18A133)  Size,  .0899 

123456T890 

ROYAL  GOTHIC  (8A49)  Size,  .091. 
(9  Point  Alignment) 

1234567890 


9  Point 

!=BOLD  FACE  No.  1  (9A74)  Size,  .083 

1234567890 


10  Point 

GOTHIC  CONDENSED  No.  2  (10A41)  Size,  .0553 

1234567890 

CASLON  TEXT  (10A91)  Size,  .0692 

1234567890 

GOTHIC  No.  38  (IOA115)  Size,  .0692 

1234567890 

LINO  TEXT  (10A125)  Size,  .0692 

l2345Li7S9U 

NARCISS  (10A123) 

Size,  Figure  1,  .0553;  2  to  0,  .0692 

1234567SSI0 

CLARENDON  No.  1  {10A25)  Size,  .070 

1234567890 


906 


*Ir>dicates  Duplicate  Character 


LINOTYPE    FIGURES 


One-Letter, Roman— I)  to  14  Point 


10  Point,  eonfittued 

GERMAN  No.  2  (10A19)  Size,  .070 

1234567890 

CONDENSED  OUTLINE  (lOAlOl)  Size,  .0761 
BOLD  FACE  No.  6  (10A103)  Size,  .083 

1234567890 

CHELTENHAM  BOLD  (lOAfal)  Size,  .083 

1234567890 

GOTHIC  CONDENSED  No.  1  (10A69)  Size,  .083 

1234567890 

*PABST  EXTRA  BOLD  (10A320)  Size,  .083 

1234567890  5p<^<^'^'  ^°-  ^ 

REMINGTON  TYPEWRITER  with  Underscore 

(10A272)  Size,  .083 

1234567890 
1234567890 

UNDERWOOD  TYPEWRITER  with  Underscore 
(10A270)  Size,  .0833 


1234567890 
1254567890 

UNDERWOOD  TYPEWRITER  No.  4  with  Underscore 
(10A394)  Size,  .0833 

1234567890 
1234567890 

GOTHIC  No.  3  (10A43)  Size,  .084 

1234567890 

'-ANTIQUE  BLACK  No.  1  (10A282)  Size,  .089 

1234567890 

DORIC  No.  1  (10A63)  Size,  .091 

1234567890 

GOTHIC  No.  16  (10A139)  Size,  .0968 

1234567890 

*GOTHIC  No,  16  (10A22'))  Size,  .0968 

1234567890 

GOTHIC  No,  41  (10A143)  Size,  .0968 

1234567890 

'■■POSTER  BODONI  (10A326)  Size,  .0968 

1334567890  ^^^^  ^^  i 

BOLD  FACE  No.  3  (10A751  Size,  .098 

1234567890 

*BOLD  FACE  No.  3  (10A94)  Size,  .098 

1234567890 

TWO  LINE  No.  18  (1QA67)  Size,  ,098 

1234507890 

11  Point 

RUSSIAN  CHURCH  (nA45)  Size,  .0692 

]2;U.%789() 

GOTHIC  CONDENSED  No.  1  (11A17)  Size,  .084 

1234567890 

TWO  LINE  (nA23)  Size,    0965 

1234507890 


DORIC  No.  2  (nA19)  Size,  .098 

1234567890 

BOLD  FACE  No.  3  (11A31)  Size,  .105 

1234567890 

'BOLD  FACE  No.  3  (11A40)  Size,  .105 

1234567890 

12  Point 

DeVINNE  EXTRA  CONDENSED  (12A73) 
Size,   .0553 

1234567890 

CHELTENHAM  BOLD  EXTRA  CONDENSED 

(12A77)   Size,   .0692 

1234567890 

GOTHIC  CONDENSED  No.  2  (12A17)  Size,  .0692 

1234567890 

DeVINNE  CONDENSED  (12A21)  Size,  .083 

1234567890 

-GOTHIC  No.  13  (12A436)  Size,  .083 
(Casts  on  10  point  body) 

1234567890 

GOTHIC  No.  18  (12A65) 

Size,  Figure  1,  .0553;  2  to  0,  .083 

1234567890 

(Also  Special  No.  1  Figure  1,  .083) 
GOTHIC  No.  38  (12A129)  Size,  .083 

1234567890 

LINO  TEXT  (12A109)  Size,  .083 

1234567890 

NARCISS  (12A127) 

Size,  Figure  1,  .0692;  2  to  0,  .083 

1234567890 

ROMAN  BOLD  CONDENSED  (12A67)  Size,  .083 

1234567890 

ANTIQUE  CONDENSED  (12A51)  Size,  .084 

1234567890 

CASLON  TEXT  (12A29)  Size,  .084 

1234567890 

CLARENDON  No.  1  (12A5)    Size,  .084 

1234567890 

CONDENSED  TITLE  No.  1  (12A7)  Size,  .084 

12:M.5(i7«l)() 

CONDENSED  TITLE  No.  2  (12A11)  Size,  .084 

r2345(;7S«IO 

CONDENSED  OUTLINE  (12A69)  Size,  .0899 

1 2345678 W 

CHELTENHAM  BOLD  (12A27)  Size,  .091 

1234567890 

GOTHIC  CONDENSED  No.  1  (12A13)  Size,  .091 

1234567890 


BOLD  FACE  No.  6  (12A751  Size,  .0968 

1234567890 

:=BOLD  FACE  No.  7  (12A180)  Size,  .0968 

1234567890 

GOTHIC  CONDENSED  OUTLINE  {12A125) 

Size:  Figure  ■»,  .1  176;  Balance,  .0968 
(15  Point  Alignment) 


nmmm 


:=PABST  EXTRA  BOLD  (12A292)  Size,  .0968 
Special  No.  1 


1234567890 


REMINGTON  TYPEWRITER  with  Underscore 

(12A202)   Size,   .0968 


1234567890 
1254567890 

REMINGTON  TYPEWRITER  No.  4  with  Underscore 
(12A370)  Size,  .100 

1234567890 
1254567890 

STENOGRAF  TYPEWRITER  (12A37)  Size,  .100 

1234567890 

UNDERWOOD  TYPEWRITER  with  Underscore 
(12A200)  Size,  .100 


1234567890 
1254567890 

UNDERWOOD  TYPEWRITER  No.  2  with  Underscore 
(12A264)  Size,  .100 

1234567890 
1234567890 

-GOTHIC  No.  15  (12A238)  Size,  .1107 

1 234567890 

GOTHIC  No.  16  (12A163)  Size,  .1107 

1234567890 

*GOTHIC  No.  16  (12A158)  Size,  .1107 

1234567890 

GOTHIC  No.  41  (12A167)  Size,  .1107 

1234567890 

LINING  GOTHIC  No.  1  (12A55)  Size,  .1107 

1234567890 

^'POSTER  BODONI  (12A298)  Size,  .1107 
BOLD  FACE  No.  1  (12A25)  Size,  .112 

1234567890 

BOLD  FACE  No.  3  (12A53)  Size,  .112 

1234567890 

:=BOLD  FACE  No.  3  (12A62)  Size,  .112 

1234567890 

TWO  LINE  (12A39)  Size,  .1176 

12;]456r890 


*lniUtatvs  DupUcatf  Charactt^r 


907 


One-Letter,  Roman— 5  to  14  Point 

LINOTYPE    FIGURES 

14  Point 

DeVIIMNE  EXTRA  CONDENSED  (14A31) 
Size,  .070 

1234567890 

CHELTENHAM  BOLD  EXTRA  COND.  (14A43) 
Size,  .083 

1234567890 

GOTHIC  CONDENSED  l\lo.  2  (14A3)  Size,  .083 

1234567890 

1     Special  No.  1 

GOTHIC  No.  18(14A33) 

Size,  Figure  1,  .0624;  2  to  0,  .0963 

1234567890 

MEMPHIS  BOLD  (14. -.129)  Size,  .0968 

1234567890 

rj   Special  No.  15 

NARCISS  (14A85) 

Size,  Figure  1,  .083;  2  to  0,  .0968 

1234567800 

BOLD  FACE  No.  6  (14A65)  Size,  .1107 

1234567890 

GOTHIC  No.  16  (14A119)  Size,  .1107 

1234567890 

^GOTHIC  No.  16  (14A92)  Size,  .1107 

1234567890 

GOTHIC  No.  38  (14A87)  Size,  .1107 
(15  Point  Alignment) 

1234567890 

Special  No.  1,  Figure  1,  .083;  2  to  0,  .166 

1234567890 

GOTHIC  No.  41  (14A121)  Size,  .1107 

1234567890 

GOTHIC  RELIEF  (14A77)  Size,  .1107 

CHELTENHAIVl  BOLD  (14A13)  Size,  .1176 

1234567890 

*BOLD  FACE  No.  3  (14A16)  Size,  .1383 

1234567890 

GOTHIC  No.  16  (14A9)  Size,  .1383 

1234567890 

GOTHIC  No.  38  (14A87) 

Special  No.  1:  Figure  1,  .083;  2  to  0,  .166 
(15  Point  Alignment) 

1234567890 

(13  Point  Alignment) 

1234567890 

ANTIQUE  CONDENSED  (14A29)  Size,  .0968 

One-Lcttcr,  Italic 
10  to  14  Point 

1234567890 

BASKERVILLE  CONDENSED  (14A1)  Size,  .0968 

1234567890 

CASLON  BOLD  CONDENSED  (14A117)  Size,  .0968 

1234567890 

CENTURY  BOLD  (14A7)  Size,  .0968 

1234567890 

10  Point 

CARD  ITALIC  (10A131) 

Size:  Figure  1,  .0484;  2  to  0,  .0761 

125^567890 

LAW  ITALIC  (10A49)  Size,  .084 

1234567890 

12  Point 

CARD  ITALIC  (12A141) 

CHELTENHAM  BOLD  CONDENSED  (14A39) 

■  l  234567890^^^^H 

225^567590 

LAW  ITALIC  (12A33)  Size,  .098 

1'234567890 

14  Point 

CARD  ITALIC  (14A97) 

Size:  Figure  1,  .0553;  2  to  0,  .0968 

1251567890 

Size,  .0968 

1234567890 

GOTHIC  CONDENSED  No.  1  (14A5)  Size,  .0968 

1234567890 

GOTHIC  No.  13  (14A61)  Size,  .0968 

1234567890 

MID  GOTHIC  (14A11)  Size,  .1107 

1234567890 

*PABST  EXTRA  BOLD  (14A172)  Size,  .1107 

1234567890  "^° 

-POSTER  BODONI  (14A174)  Size,  .1107 

1234567890'^     '° 

908 


*  Indicates  Duplicate  Character 


TWO-LETTER,  ROMAIV  with  ITALIC-4  to  24  Point 


4  Point 

CENTURY  EXPANDED  with  ITALIC  (6A42) 
Size,  .0415 

CHELTENHAM  BOLD  COND.  with  ITALIC 
(6A232)  Size,  .0434 

CENTURY  EXPANDED  with  Italic  (4A4) 

1234567890  Special  No.  2 

1Z34567890 

Size,  .0484 

123i5e7390 

;234567«90 

12:)43(>7890 
i234S67890 

GARAIVIOND  with  ITALIC  (6A274)  Size,  .0415 

CLASSIC  with  ITALIC  (6A2O)  Size,  .0484 

IJ,^,!./.^,., 

1 2345B7890 

5  Point 

;2)45f,,'Sgo 

5   Special  No.  2 

1234567890 

5 

CLOISTER  with  ITALIC  '(>A280)  Size,  .0484 

CASLON  No.  3  with  ITALIC  I5i28)  S.ze, 

0415 

I:J4!67890 

1234567890 

1234567890 

12UU,7S90 

12^4^67890 

I234S67S90 

5  Special  No.  1 

1234567890 

1234567890 

5 

1234^67890 

1234S67S90 

GRANJON  with  ITALIC  (6A372)  Size,  .0415 

ELZEVIR  No.  3  with  ITALIC  (6A220)  Size,  .0484 

IONIC  No.  5  with  ITALIC  (5A26)  Size,  .0415 

I234557«.)n 

12  54 567890 

1234567890 

/  2  i4  ^6-8()i) 

1 214507800 

1234567S90 

1214567890 

12.54 '567890 

!2U567mo 

/_' j-;5(i7.s'"(; 

OLD  STYLE  No.  1  with  ITALIC  (5A30)  Size,  .0415 

1234567890 

No.  21  with  ITALIC  (6A150)  Size,  .0415 

EXCELSIOR  with  ITALIC  (6A320)  Size,  .0484 

1^34567190 

1234567890 

1234567890 

1234567890 

i23/,r)is7>i:m 

1234567S90 

1234567890 

12:i4r)07SnO  Special  No.  3.  Size,  .0484 

;  3,Hr,G7S90 

FRANKLIN  OLD  STYLE  with  ITALIC  (6A228) 

CASLON  BOLD  with  ITALIC  (5A38)  Size, 

.046 

Size,  .0484 

1234567890 

OLD  STYLE  No.  3  with  ITALIC  (6A102) 

1234567890 

1234567890 

Size,  .0415 

1.234567890 

12J4567890 

1234567890 

No.  10  with  ITALIC  (5A8)  Size,  .0484 

1234^67890 

12S4567890 

12345C7890 

1J.M567890 

1231,567890 

V3t5',rS90 

GARAMOND  BOLD  with  ITALIC  (6A286) 
Size,  .0484 

ORIGINAL  OLD  STYLE  with  ITALIC  (6A86) 

1234567890 
12}4567S90 

51/2  Point 

Size,  .0415 

1234567890 

1234567890 

EXCELSIOR  with  ITALIC  151.2A501  Size, 

046 

1234567890 

/234S67S90 

1234567890 

1234567890 

1234567S9n 

1234i67890 

IONIC  No.  5  with  ITALIC  (6A302)  Size,  .0484 

1234567890  Special  No,  2.  Size,  .050 

1234567890 

1234567S90 

No.  2  with  ITALIC  (6A4)  Size,  .042 
1234.567890  Special  No.  2 

1234567890 

IONIC  No.  5  with  ITALIC  (5VaA44)  Size, 

.046 

l'.3<,r,6789n 

MEMPHIS  BOLD  with  ITALIC  '6A364) 

1234567890 

Size,  .0484 

1234567S90 

No.  28  with  ITALIC  (6A34)  Size,  .0445 

1234567890 

1234567890  Special  No.  2.  Size,  .050 

1'J3i5G7S9ll 

J  234567890 

1234567890 

li:li5G7fl90 

MEMPHIS  LIGHT  with  ITALIC  (6A368) 

No.  1  with  ITALIC  (5V2A4)  Size,  .046 

RUSSIAN  No.  8  with  ITALIC  (dA58)  Size,  .0445 

Size,  .0484 

1234r)(>7HU()  Special  No.  1 

1234."i(;T8'.10 

1234567890 

12.11,51:7891) 

vj:si.'i<37Hno 

J  234567890 

No.  2  with  ITALIC  (5V2A22)  Size,  .0484 

ANTIQUE  No.  1  with  ITALIC  (6Aq8)  Size,  .0484 

MEMPHIS  MEDIUM  with  ITALIC  (bA326) 

1234567890 

1234567890 

Size,  .0484 

12Si5i;7890 

12^4567*90 
1234567890 

12345G7890 
J  234567890 

EXCELSIOR  with  ITALIC  (5' 2A5O)  Size, 

050 

1234567890 

1234.567890  Special  No.  2 
i234567S90 

METROMEDIUM  No.  2  with  ITALIC  (6A392) 

CASLON  BOLD  with  ITALIC  (faA410)  Size,  .0484 

Size,  .0484 

1 2.34567800 

1234567890 

IONIC  No.  5  with  ITALIC  (5' 2A44)  Size, 

.050 

12.34567890 

;234567890 

1234567890  Special  No.  2 
1234567S90 

CASLON  No.  2  with  ITALIC  (6A202)  Size,  .0484 

No.  1  with  ITALIC  (6A2)  Size,  .0484 

No.  1  with  ITALIC  (5V2A4)  Size,  .050 

1234567890 
ii345(>7S'jo 

12.S4r>tl7S9()  Special  Wo.  2 
123.',.'il!78!IO 

1234.567S!)() 

1334';(,7890 

No.  21  with  ITALIC  (6A150)  Size,  .0484 

1231,567890 

1234Sr>7S90 

1234567890  Special  Wo.  3 

12:i4ri67S!»l)  Special  No.  1.  Size,  .046 

12.!4.'>(;7S90 

12  3  .',567800 

CASLON  No.  3  with  ITALIC  (6A160)  Size,  .0484 

1234.567890 

OLD  STYLE  No.  7  with  ITALIC  (6A194; 

No.  4  with  ITALIC  (5V2AI8)  Size,  .0553 

1234.567890 

Size,  .0484 

12345(i7H!)0 

1234567890 

1234567890 

l'2Si5678nO 

1234S67890 

1234567890 

BOLD  FACE  No.  1  with  ITALIC  15V2A6)  S 

ize,  .063 

CASLON  OLD  FACE  with  ITALIC  (6A224) 

I234567SOO 
1234567S90 

1  :::t4r><i7s»o 

Size,  .0484 

li:i4S«7S!>0 

1254567890 

SCOTCH  with  ITALIC  (6A96)  Size,  .0434 

12  34567890 

1234,567890 

6  Point 

1254567890 
1 234567  S<}0 

I23l,5fl78:>0 

BODONI  with  ITALIC  (6A158)  Size,  .0415 

TEXTYPE  with  ITALIC  (6A304)  Size,  .0484 

1234S67H90 

CENTURY  EXPANDED  with  ITALiC  (6A42) 

1234567890 

1234567890 

Size,  .0484 
1234567890 

I234567S90 

BODONI  BOOK  with  ITALIC  {bAl92)  Size 

,  .0415 

1231,567390 

No.  1  with  ITALIC  (6A2)  Size,  .050 

1234.567800 

1234567890  Special  No.  2.  Size,  .0415 

l'_','54r)(!7890  Special  Wo.  1 

1234567890 

12Si5G7S90 

123.',5(n890 

lAnotupf  Jravtiona  for  the  above  fiiiuris  are  .s/joh'H  in  tlie  jraetion  seet'ion  immediately  JoUoiving 


909 


Tivo-Letter ,  Roman  with  I  talk 

?-4  to  24  Point 

LINOTYPE    FIGURES 

6  Point,  ooiittnuefl 

He.  2  with  ITALIC  (6A4)  Size,  .056 

EXCELSIOR  No.  1  with  ITALIC  (7A140) 

1234567890 

Size,  .0553 

No.  2  with  ITALIC  (6A4)  Size,  .050 

123^567890 

1234567890 

1234567890  Special  No.  1 

1234567890  Special  No.  1.  Size,  .050 

1234567890 

123J,567SD0 

723^567890 

1234567890  Special  No.  2.  Size,  .042 

EXCELSIOR  No.  2  with  ITALIC  (7A142) 

No.  12  with  ITALIC  (6A22)  Size,  .050 

1231,567890 

Size,  .0553 

1234567890 

1234567890 

12SJ,567890 

No.  3  with  ITALIC  (6A10)  Size,  .056 
1234567890 

1234567890 

OLD  STYLE  No.  1  with  ITALIC  (6A8)  Size,  .050 

1231,567890 

FRANKLIN  OLD  STYLE  with  ITALIC  (7A98) 

1234567890 
1^34567890 

6 1/2  Point 

Size,  .0553 
1234567890 

1234567890 

1234567890 

12S4567S90 

IONIC  No.  5  with  ITALIC  (6V2A6)  Size,  .0553 

1234567890 

No.  16  with  ITALIC  (6A62)  Size,  .0519 

1234567890 
1234567890 

1234567890 

1234567890 
]-23i5e7890 

IONIC  No.  5  with  ITALIC  (7A126)  Size,  .0553 

634  Point 

1234567890 

BENEDICTINE  with  ITALIC  (6A244)  Size,  .0553 

1234567890 

1  234567890 
I  2  J4  ^b^Stio 

IONIC  No.  5  with  ITALIC  Ib^/iAA)  Size,  .0553 
(7  Point  Alignment) 

No.  2  with  ITALIC  (7A46)  Size,  .0553 

1234567890 

1234567890 

1234567890 

12^4567890 

1234567890 

1231,567890 

BENEDICTINE  BOOK  with  ITALIC  (6A250) 

7  Point 

No.  21  with  ITALIC  (7A66)  Size,  .0553 

Size,  .0553 

1234567890 

1  234567890 

1234567890 
!2U567S90 

BODONI  with  ITALIC  (7A92)  Size,  .0484 

1231,567890 

1234567890 
;254567890 

1234567890  Special  No.  1.  Size,  .0484 
1281,567890 

BODONI  BOOK  with  ITALIC  (7A94)  Size,  .0484 

1234567890  Special  No.  2.  Size,  .049 

BODONI  BOLD  with  ITALIC  (6A156)  Size,  .0553 
1234567890 

1234567890 

725^567890 

I234567»90 

1234567890 

No.  21B  with  ITALIC  (7A152)  Size,  .0553 

BOOKMAN  with  ITALIC  (6A394)  Size,  .0553 

CASLON  No.  137  with  ITALIC  (7A168) 
Size,  .0484 

1234567890 

1234567890 

1234567890 

1234567890 

1234567890 

OLD  STYLE  No.  7  with  ITALIC  (7A96)  Size,  .0553 

i2S45678go 

1234567890 
i2345678(>o 

CHELTENHAM  BOLD  with  ITALIC  (6Alb2) 
Size,  .0553 

12J4567890 
1234567890 

1234567890 

1234567890 

1234567890                      ^   ■ 

No.  21  with  ITALIC  (7A66)  Size,  .0484 

1234567890 

CLOISTER  BOLD  with  ITALIC  (6A268) 

1234567890  Special  No.  1 

CASLON  with  ITALIC  (7A8)  Size,  .056 

Size,  .0553 

/  23/(567890 

1  234567S90 

1234567890 
1234567890 

TEXTYPE  with  ITALIC  (7A132)  Size,  .0484 

/^34S^78qo 

1234567890 

1234567890 

DeVINNEwith  ITALIC  (6A24)  Size,  .0553 

J234567890 

1234367S00 

1234567890 
1234567 SOO 

No.  21  with  ITALIC  (7A66)  Size,  .049 

OLD  STYLE  No.  1  with  ITALIC  (7A14)  Size,  .056 

1234507890  Special  No.  2 

1234567890 

GARAMOND  BOLD  No.  3  with  ITALIC  (6A39fc) 

123)567890 

1234567890 

Size,  .0553 
1234567890 

BASKERVILLE  with  ITALIC  (7A184)  Size,  .050 

1234567890 
1234567890 

1234567890 

(6  Point  Alignment) 

1234567890 

BOOKMAN  with  ITALIC  (7AI70)  Size,  .059 

GARAMOND  No.  3  with  ITALIC  (6A398) 
Size,  .0553 

72?./ 567*90 

1234567890 

1234567890 
1234567890 

1234567890 
1234567890 

1234567890 

GARAMOND  BOLD  No.  3  with  ITALIC  (7A174) 

METROBLACK  No.  2  with  ITALIC  (6A434) 

No.  24  with  ITALIC  (7A26)  Size,  .0519 

Size,  .059 

Size,  .0553 

1234567890 

1234567890 

1234567890 
7234567890 

t23i561890 

/234567890 

No.  28  with  ITALIC  (7A18)  Size,  .0519 

GARAMOND  No.  3  with  ITALIC  (7A172) 

OLD  STYLE  No.  1  with  CHELTENHAM  BOLD 

12345G7890 

Size,  .059 

ITALIC  (feAl82)  Size,  .0553 

IS34567S90 

1234567890 

1234567890 

1234567890 

1234567890 

CASLON  No.  3  with  ITALIC  (7A154)  Size,  .0553 

l..\U567890 

1234567890 

No.  1  with  ITALIC  {7A4)  Size,  .059 

1234567890 

l234567Sgo 

12345C7890 

OPTICON  with  ITALIC  (6A424)  Size,  .0553 

1234567890 

1234o67890 

1234567890 

1234567890 

PARAGON  with  ITALIC  (7A164)  Size,  .059 

1234567890 

CENTURY  EXPANDED  with  ITALIC  (7A88) 

1234567890 

PARAGON  with  ITALIC  (bA390)  Size,  .0553 

Size,  .0553 

1234567890 

1234567890 

1234567890 

No.  16  with  ITALIC  (7A6)    Size,  .0593 

1 234567 S90 

1231,567890 

1234567890 

No.  1  with  ITALIC  (6A2)  Size,  .056 

ELECTRA  with  ITALIC  (7A182) 

123i567890 

11^345678911 

Size:  Figure  1,  .0415;  2  to  0,  .0553 

BENEDICTINE  with  ITALIC  (7A104)  Size,  .0622 

22.? ',5678.90 

1234567890 

1  234567890 
1234^67890 

123456789(1  Special  No.  1.  Size,  .050 
i2.lJ5678.90 

J234567890 

1234567890  Special  No.  2.  Size,  .0484 

1254567890  (Casts  on  8  Point  Body) 

1234567890 

1231,567890 

1254567S90 

1234567890 

Wh<-rf  tuw  styles  of  figures  are  shown,  old  style  and  modernized,  specify  ivhich  style  is  desired 


910 


LINOTYPE    FIGURES 


Two-Letter,  Roman  loith  Italic— -i  to  21  Point 


7  Point,  continued 

BENEDICTINE  BOOK  with  ITALIC  (7A110) 

Size,  .0622 
1 234567890 

1234567890 
1234567890 

BODONI  BOLD  with  ITALIC  (7Al7fe)  Size,  .0622 

1234567890 

1234567890 

BOLD  FACE  No.  1  with  ITALIC  (7A12)  Size,  .077 
12:i4.->(>7  89(t 


71/2  Point 


EXCELSIOR  with  ITALIC  171,2^8)  Size,  .0622 

1234567890 
1234567S90 

IONIC  No.  5  with  ITALIC  (7V2A4)  Size,  .0622 
(8  Point  Alignment) 

1234567890 
1234567890 

OPTICON  with  ITALIC  (7V2AI6)  Size,  .0622 

1234567890 
1234567890 

PARAGON  with  ITALIC  (7V2A20)  Size,  .0622 

1234567890 
1 234567 S90 

8  Point 

BASKERVILLE  with  ITALIC  (8A420)  Size,  .0553 
(7  Point  Alignment) 

1234567890 
7  2^^/567590 

123-1567890 

I2U567S90 

BODONI  with  ITALIC  (8A262)  Size,  .0553 

1234567890 
1234567890 

1234567890  Special  No.  3.  Size,  .0593 

1234567890 

BODONI  BOOK  with  ITALIC  (8A280)  Size,  .0553 

1234567890 
1234567890 

1234567890  Special  No.  3.  Size,  .0593 

1234567890 

CAMBRIDGE  with  ITALIC  (8A22)  Size,  .0553 
12345(17890 

CASLON  No.  2  with  ITALIC  (8A298)  Size,  .0553 

1234567890 

1334567890 

1234567890 
U34567S90 

CASLON  No.  3  with  ITALIC  (8A208)  Size,  .0553 

1234567890 

12,U5(>7S90 

1234567890 

1234S67S90 

CASLON  No.  137  with  ITALIC  (8A4b6) 
Size,  .0553 

1234567890 

'^34567^90 

12.U567890 
1234567S90 


CASLON  OLD  FACE  with  ITALIC  (8A312) 
Size,  .0553 

1234567X90 
1234567890 
1234567890 

345    7    9   Special  No.  3.  (Casts  on  7  point  liody) 
345    7    9 
CENTURY  BOLD  with  ITALIC  (8A308)  Size,  .0553 

1234567890 
1234567890 

CHELTENHAM  BOLD  CONDENSED  with  ITALIC 

(8A176)  Size,  .0553 

1234567890 
1234567890 

CLOISTER  with  ITALIC  (8A378)  Size,  .0553 

1234567890 

1 2)4^6y8()o 

1234567890 

1234567890 

ELZEVIR  with  ITALIC  (8A182)  Size,  .0553 

12345(j7890 

1234567890 

ELZEVIR  No.  3  with  ITALIC  (8A306)  Size,  .0553 

1234567890 

12)4,07890 

1234567890 
1 134^^67890 

ESTIENNEwlth  ITALIC  (8A406)  Size,  .0553 
(7  Point  Alignment) 

I  234567890 

'  -345^7^° 
1234567890 
1234567890 

GARAMOND  with  ITALIC  (8A372)  Size,  .0553 

I  234567890 

'234567*90 

-    Special  No.  2 

5 
1234567890 
;234567«90 

5    Special  No.  1 

5 

GRANJON  with  ITALIC  (8A386)  Size,  .0553 

1234567890 

/ 254567590 

1234567890 
1234567890 

JANSON  with  ITALIC  (8A436)  Size,  .0553 

I234.S67890 
I234S61890 

I  234567890  'Casts  on  9  Point  Body) 
1234^67890 

(Also  Special  No.  1  Figure  :,  .0415) 

MEMPHIS  BOLD  with  ITALIC  (8A448) 
Size,  .0553 

1234567890 
1234S6789Q 

MEMPHIS  LIGHT  with  ITALIC  (8A450) 
Size,  .0553 

1234567890 
J234567890 

MEMPHIS  MEDIUM  with  ITALIC  (8A456) 
Size,  .0553 

1234567890 
1234567890 


METROMEDIUM  No.  2  with  ITALIC  (8A494) 
Size,  .0553 

1234567890 
/234567890 

No.  2  with  ITALIC  (8A252)  Size,  .0553 

1234567890  Sp^iai  No.  1 
123J,561S<J0 

No.  21  with  ITALIC  (8A214)  Size,  .0553 

1234567890 

12SJ,507S!:)() 
1234567890  Spfcial  No.  3 
123/^507890 

OLD  ROMAN  with  ITALIC  I8A220)  Size,  .0553 

1234567890 
1234567890 

OLD  STYLE  No.  1  with  ANTIQUE  No.  1  ITALIC 
(8A152)  Size,  .0553 

I2345O7890 
1234567890 

1234507890 
1234567890 

OLD  STYLE  No.  1  with  CHELTENHAM  BOLD 
ITALIC  (8A284)  Size,  .0553 

1234567890 
1234567890 

OLD  STYLE  No.  3  with  ITALIC  (8A116) 
Size,  .0553 

1234567890 
1234567890 

1234567890 
1234567890 

OLD  STYLE  No.  7  with  ITALIC  (8A212) 

Size,  .0553 
1234567890 
1234567890 
1234567890 
1234567890 
1234567890  Special  No.  1 
1234567890 

ORIGINAL  OLD  STYLE  with  ITALIC  (8A138) 
Size,  .0553 

I  234567890 
1234567890 

1234567890 
1234567890 

SCOTCH  No.  2  with  ITALIC  (8A416)  Size,  .0553 

1 '234567890 

1231,567890 

1234567890  Special  No.  1,  Size,  .056 

1231,567890 

TEXTYPEwith  ITALIC  I8A396)  Size,  .0553 

1234567890 
; 234567890 

1234567890  Special  No.  3.  Size,  .059 

i234567890 

CASLON  with  ITALIC  (8A24)  Size,  .056 

1234567890 

I234567S90 

1234567890 

1234567890 

CHELTENHAM  with  ITALIC  (8A12)  Size,  .056 

1234567890 
1234567890 


lAnotypt  jrurtiinm  fftr  the  ahovf  fiourt  s  urr  nhnwn  in  th*'  frarttori  stction  immediattly  follinvivg 


911 


Two-Letter,  Roman  with  Italic—'^  to  24  Point 


LINOTYPE    FIGURES 


8  Point,  continued 

OLD  STYLE  No.  1  with  ITALIC  (8A30)  Size,  .056 

1234567890 

1234567890 

1234567890 
1234567890 

SCOTCH  with  ITALIC  (8A42)  Size,  .056 

(High  Alignment) 

1234567890 

1234567890 

SCOTCH  with  ITALIC  (8A82)  Size,  .056 

1234567890 

1234567890 

SCOTCH  No.  2  with  ITALIC  (8A416)  Size,  .056 
1234567890  Special  No.  1 

l'23k567890 

DeVINNE  with  ITALIC  (8A18)  Size,  .059 

(High  Alignment) 

1234567890 
1S34567S90 

DeVINNE  with  ITALIC  (8A1I8)  Size,  .059 

1234567890 

1234567890 

No.  1  with  ITALIC  (8AIO)  Size,  .059 
(High  Alignment) 

1234567890 
1234567890 

No.  1  with  ITALIC  (8A98)  Size,  .059 

1234r)67S!)0 
123^567890 

No.  2  with  ITALIC  (8A2)  Size,  .059 
(High  Alignment) 

1234567890 
1234567890 

No.  2  with  ITALIC  (8A252)  Size,  .059 

1234567890 
123.',5678!>0 

1234567890  Special  Wo.  1.  Size,  .0553 

1234567890 

No.  4  with  ITALIC  (8A14)  Size,  .059 

(High  Alignment) 

1234567890 
1234567890 

No.  16  with  ITALIC  (8A54)  Size,  .059 
1234567890  special  No.  5 

1234^567890 

No.  19  with  ITALIC  (8A38)  Size,  .059 

(High  Alignment) 

1234567890 
1234567890 

TEXTYPEwith  ITALIC  (8A396)  Size,  .059 
1234567890  Special  No.  3 

1234567890 

BODONI  with  ITALIC  C8A262)  Size,  .0593 
1234567890  Special  No.  3 

1234567890 

BODONI  BOOK  with  ITALIC  (8A280)  Size,  .0593 
1234567890  Special  No.  3 

1234567890 


tio.  24  with  ITALIC  (8AIOO)  Size,  .0593 

1234567890 
1234567890 

No.  28  with  ITALIC  (8A48)  Size,  .0593 

1234567890 
1234567890 

RUSSIAN  CONDENSED  No.  2  with  ITALIC 
(8A96)  Size,  .0593 

1234567890 
1234567890 

RUSSIAN  No.  11  with  ITALIC  (8A110) 
Size,  .0593 

1234567890 
1234567890 

ANTIQUE  No.  1  with  ITALIC  C8A114)  Size,  .0622 

1234567890 

1234567890 

1234567890 
1234567890 

BOOKMAN  with  ITALIC  (8A470)  Size,  .0622 

1234567890 
1234567890 

CLASSIC  with  ITALIC  (8A28)  Size,  .0622 

1234567890 
1234567890 

CLOISTER  BOLD  with  ITALIC  (3A370) 
Size,  .0622 

1234567890 
1234567890 

ELECTRA  with  ITALIC  (8A484) 

Size:  Figure  1,  .0484;  2  to  0,  .0622 

1234567890 
J234567890 

(Also  Special  No.  1  Figure  1,  .0622) 
12^41:67800  (Casts  on  9  point  body) 
123^567890 

(Also  Special  No.  1  Figure  1,  .0622) 

EXCELSIOR  No.  1  with  ITALIC  (8A432) 
Size,  .0622 

1234567890 
1234567890 

EXCELSIOR  No.  2  wrth  ITALIC  (8A444) 
Size,  .0622 

1234567890 
1234567890 

FRANKLIN  OLD  STYLE  with  ITALIC  (8A316) 
Size,  .0622 

1234567890 
1234567890 
1234567890 
1234567890 

GARAMOND  BOLD  with  ITALIC  (8A380) 
Size,  .0622 

I  234567890 
1234567X90 
1234567890 
1234567890 

GARAIVIOND  BOLD  No.  3  with  ITALIC  (3A476) 
Size,  .0622 

1234567890 
1234567890 

GARAMOND  No.  3  with  ITALIC  (8A478) 
Size,  .0622 

1234567890 
1234567890 


IONIC  No.  5  with  ITALIC  (8A384)  Size,  .0622 

1234567890 
1234567890 

PARAGON  with  ITALIC  (8A464)  Size,  .0622 

1234567890 
1234567890 

CENTURY  EXPANDED  with  ITALIC  (8A26) 
Size,  .063 

1234567890 
1234567890 

No.  16  with  ITALIC  (8A54)  Size,  .0667 

1234567890 
123^567890 

1234567890  special  No.  5.  Size,  .059 

7234567590 

BENEDICTINE  with  ITALIC  (8A274)  Size,  .0692 

I  234567890 

1 2 }4  56  78^0 

1234567890 

1234567890 

BENEDICTINE  BOLD  with  ITALIC  (8A364) 
Size,  .0692 

1234567890 
I  2345678^0 

1234567890 
1234567890 

BENEDICTINE  BOOK  with  ITALIC  (8A360) 
Size,  .0692 

I  234567890 

i2j45678go 
1234567890 
1234567890 

BODONI  BOLD  with  ITALIC  (8A222)  Size,  .0692 

1234567890 
1234567890 

CHELTENHAIVI  BOLD  with  ITALIC  (8A60) 

Size,  .0692 

1234567890 
1234567890 

METROBLACK  No.  2  with  ITALIC  (8A512) 
Size,  .0692 

1234567890 
J234567890 

METROLITE  No.  2  with  ITALIC  (8A5I6) 
Size,  .0692 

1234567890 
7234567890 

OPTICON  with  ITALIC  (8A496)  Size,  .0692 

1234567890 
1234567890 

TITLE  No.  2  with  ITALIC  (8A44)  Size,  .070 

1234567890 
1234567890 

1234567890 
1234567890 

1234567890  Special  No.  1 

1234567890 

MEMPHIS  EXTRA  BOLD  with  ITALIC  (8A506) 
Size,  .0761 

1234567890 
1234567890 

POSTER  BODONI  with  ITALIC  (8A412)  Size,  .083 

1334567890 
1234567890 


Where  two  styles  0} figures  are  shown,  old  style  and  modernised,  specify  which  style  is  desired 


912 


LINOTYPE    FIGURES 


Iwo- Letter ,  Roman  with  Italic— A^  to  24  Point 


9  Point 

GRANJON  with  ITALIC  (9A112)  Size,  .056 

1234567890 
1234567890 
1234567890 
I 2^4^6y8go 

1234567890  Special  No.  1,  Size,  .0622 

i23456y8go 

BASKERVILLE  with  ITALIC  (9A128)  Size,  .0622 
(8  Point  Alignment) 

1234567890 

i2^^^6y8po 
1234567890 
123'f567890 

BODONI  BOOK  with  ITALIC  (9A104)  Size,  .0622 

1234567890 
1234567890 

CASLON  with  ITALIC  (9A18)  Size,  .0622 

1234567890 

1234567890 

1234567890 
1234567890 

CASLON  No.  3  with  ITALIC  (9A130)  Size,  .0622 
1234567890 

1234567890 
1234567890 

CASLON  No.  137  with  ITALIC  (9A144) 
Size,  .0622 

1234567890 

i2j4^678go 
1234567890 
1234567890 

CASLON  OLD  FACE  with  ITALIC  (9A82) 
Size,  .0622 

1234567890 

1234567890 

1234567890 
'23456-/8<)o 

,  .  -     „    g     Special  Mo.  3  (8  point  body) 

345    7    0 
CHELTENHAM  with  ITALIC  (9A46)  Size,  .0622 

1234567890 
1234567890 

ELZEVIR  No.  3  with  ITALIC  (9A78)  Size,  .0622 
1234567890 

i234^6j8go 
1234567890 
1234567890 

GARAMOND  with  ITALIC  (9A102)  Size,  .0622 

I  234567890 

1234567^90 

c     Special  No.  2 

5 

1234567890 
I2}4')67i90 

5      Special  No.  1 

5 

GRANJON  with  ITALIC  (9A142)  Size,  .0622 
1234567890  Special  No.  1 

1^345(^7890 


MEMPHIS  BOLD  with  ITALIC  (9A143) 

Si/e,   .0622 

1234567890 
1234S67890 

MEMPHIS  MEDIUM  with  ITALIC  (9A146) 

Si.-e,  .0622 

1234567890 
1234567890 

No.  1  with  ITALIC  I9A44)  Size,  .0622 

i:2;!i5(J7s;)o 

1237,567890 

No.  21  with  ITALIC  (9A60)  Size,  .0622 

1L'345G7S')0 
]33/f567S00 

OLD  STYLE  No.  7  with  ITALIC  (9A62)  Size,  .0622 
1234567890 
1234567890 

1234567890 
1234567890 

SCOTCH  No.  2  with  ITALIC  (9A126)  Size,  .0622 

1234567890 

123i567890 

2345    Special  No,  1 

23i5 

TEXTYPE  with  ITALIC  (9A122)  Size,  .0622 

1234567890 
1234567890 

DeVINNEwith  ITALIC  (9A4)  Size,  .063 

1234567890 

1234567890 

No.  13  with  ITALIC  (9A28)  Size,  .063 

12345G7890 
123J^567890 

OLD  STYLE  No.  1  with  ITALIC  (9A2)  Size,  .063 

1234567890 

I234567S9O 

1234567890 
12 34567 S90 

No.  28  with  ITALIC  (9A32)  Size,  .0667 

12345(37890 
1234567890 

ANTIQUE  No.  1  with  ITALIC  (9A132)  Size,  .0692 

1234567890 

1234567890 

1234567890 
1234567890 

BOOKMAN  with  ITALIC  (9A150)  Size,  .0692 

1234567890 
1234567890 

CENTURY  EXPANDED  with  ITALIC  (9A58) 
Size,  .0692 

1234567890 
1231f567S90 

ELECTRA  with  ITALIC  (9A160) 

Size:  Figure  1,  .0553;  2  to  0,  .0692 

1234567890 
]25-f567S9n 

(Also  Special  No.  1  Figure  1,  .0692) 
2254^67800    'Casts  on  10  point  body) 

(Also  Special  No.  1  Figure  1,  .0692) 


EXCELSIOR  with  ITALIC  (9A134)  Size,  .0692 

1234567890 
1234567890 

FRANKLIN  OLD  STYLE  with  ITALIC  (9A84) 
Size,  .0692 

1234567890 
1234567890 

1234567890 
1234567890 

GARAMOND  BOLD  No.  3  with  ITALIC  (9A154) 
Size,  .0692 

1234567890 
1234567H90 

GARAMOND  No.  3  with  ITALIC  (9A152) 
Size,  .0692 

1234567890 
1234567890 

IONIC  No.  5  with  ITALIC  (9A116)  Size,  .0692 

1234567890 
1234567890 

PARAGON  with  ITALIC  (9A156)  Size,  .0692 

1234567890 
725-^567890 

No.  16  with  ITALIC  (9A12)  Size,  .0742 

12345G7890 
123/^567890 

BENEDICTINE  with  ITALIC  (9A90)  Size,  .0761 
I  234567890 
I  2  34567890 

1234567890 
1234567890 

BENEDICTINE  BOOK  with  ITALIC  (9A94) 
Size,  .0761 

I  234567890 

1234567890 

1234567890 
1234567890 

10  Point 

CLOISTER  with  ITALIC  (10A312)  Size,  .0622 

1234567890 

12345678^0 

1234567890 
1234567890 

ESTIENNEwith  ITALIC  (10A408)  Size,  .0622 
(9  Point  Alignment) 

1 2  Ti^c^GySgo 
1 2 ^4 ^6y 8^0 
1234567890 
1234567890 

GRANJON  with  ITALIC  (IOA3I8)  Size,  .0622 
1234567890 

i2^4^6'/8()o 
1234567890 
1234567890 

No.  14  with  ITALIC  (10A166)  Size,  .0667 

^234ri678n0 
1234567890 


Linotype  J  rtirt  ions  for  Ihr  above  jig  arc  h  are  shoivn  in  the  jraction  section  immediately  following 


913 


Two-Letter,  Roman  with  Italic— 4;  to  24  Point 


LINOTYPE   FIGURES 


10  Point,  continued 

ANTIQUE  No.  1  with  ITALIC  (:oA92)  Size,  .0692 

1234567890 

1234567890 

1234567890 
1234567890 

BASKERVILLE  with  ITALIC  (10A378)  Size,  .0692 
(9  Point  Alignment) 

1234567890 

1234567890 
1234567890 

BENEDICTINE  with  ITALIC  (10A240)  Size,  .0692 
I  234567890  SPe-^'^l  M"! 

i2^4^6j890 

BODONI  with  ITALIC  {10A218)  Size,  .0692 

1234567890 

1234567890 

1234567890  5p«i^i  ^o.  3.  size,  .0742 

1234567890 

BODONI  BOOK  with  ITALIC  (10A250)  Size,  .0692 

1234567890 

1234567890 

1234567890  sp<^<='='  ^°-  '■  s'"'  -"^"^ 

1234567890 

CAMBRIDGE  with  ITALIC  (10A28)  Size,  .0692 

1234567890 
123456/890 

CASLON  No.  2  with  ITALIC  (10A260)  Size,  .0692 
1234567890 

i234^6j8go 
1234567890 
1234567890 

CASLON  No.  3  with  ITALIC  (IOAI8O)  Size,  .0692 

1234567890 

1234567890 

1234567890 
1234567890 

CASLON  No.  137  with  ITALIC  (10A424) 
Size,  .0692 

1234567890 

i2j45678go 
1234567890 
1234567890 

CASLON  OLD  FACE  with  ITALIC  (10A280) 
Size,  .0692 

1234567890 
1234567S90 

1234567890 
i2345'^7S9o 

(Casts  on  9  point  body) 
345     7    9     Special  No.  2 

345    7    9 

CENTURY  BOLD  with  ITALIC  (10A268) 
Size,  .0692 

1234567890 
1234567890 


Cl.ELTENHAM  BOLD  CONDENSED  with  ITALIC 

(10A148)  Size,   .0692 

1234567890 

1234567890 

CLASSIC  with  ITALIC  (10A22)  Size,  .0692 

1234567890 
1234567890 

CLOISTER  BOLD  with  ITALIC  (10A302) 
Size,  .0692 

1234567890 
1234567890 

ELECTRA  with  ITALIC  (10A422) 
Size:  Figure  1,  .0553;  2  to  0,  .0692 

1234567890 
1234567890 

(Also  Special  No.  1  Figure  1,  .0692) 
12541^67800   'Casts  on  11  point  body) 

123^:^567890 

(Also  Special  No.  1  Figure  1,  .0692) 

ELZEVIR  with  ITALIC  (10A160)  Size,  .0692 

1234567890 
1234567890 

ELZEVIR  No.  3  with  ITALIC  (10A274) 
Size,  .0692 

1234567890 

1234567890 

1234567890 
1234567890 

EXCELSIOR  with  ITALIC  (10A386)  Size,  .0692 

1234567890 
1234567890 

FRANKLIN  OLD  STYLE  with  ITALIC  (10A284) 
Size,  .0692 

1234567890 

1234567890 

1234567890 
1234567890 

FRENCH  OLD  STYLE  with  ITALIC  (10A30) 
Size,  .0692 

1234567890 

1234567890 

GARAMOND  with  ITALIC    (10A304)  Size,  .0692 
1234567890 
1234567X90 

5 

5 
1234567890 
1234567^90 

c      Special  No.  1 
5 


Special  No.  2 


GARAMOND  BOLD  No.  3  with  ITALIC  (10A436) 
Size,  .0692 


1234567890 

1234567890 


GARAMOND  No.  3  with  ITALIC  (10A440) 
Size,  .0692 


1234567890 
1234567890 


JANSON  with  ITALIC  (10A388)  Size,  ,0692 

1234567890 
1234S67890 
I  2  ■J4c678oo  "-^^'^  °"  ■'■^  P°'"'  ''°''y' 

/  23456-^8^0 

(Also  Special  No.  1  Figure  1,  .0553) 

MEMPHIS  BOLD  with  ITALIC  (10A412) 

Size,  .0692 

1234567890 
1234567890 

MEMPHIS  LIGHT  with  ITALIC  (10A414) 
Size,  .0692 

1234567890 
1234567890 

MEMPHIS  MEDIUM  with  ITALIC  (10A418) 
Size,  .0692 

1234567890 
1234567890 

METROMEDIUM  No.  2  with  ITALIC  (10A462) 
Size,  .0692 

1234567890 
1234567890 

No.  9  with  ITALIC  (10A20)  Size,  .0692 

1234567890 
123J^.567890 

No.  21  with  ITALIC  (10A186)  Size,  .0692 

1234567890 

1234567890 
1234567890  special  no.  i 
1234567890 
1234567890  sp^^ai  no.  3 
1234567890 

OLD  ROMAN  with  ITALIC  (10A192)  Size,  .0692 

1234567890 
1234567890 

OLD  STYLE  No.  1  with  ANTIQUE  ITALIC 
(10A128)  Size,  .0692 

1234567890 

1234567890 

1234567890 
1234567890 

OLD  STYLE  No.  3  with  ITALIC  (10A98) 
Size,  .0692 

1234567890 

1234567890 

1234567890 
1234567890 

OLD  STYLE  No.  7  with  ITALIC  (10A184) 
Size,  .0692 


1234567890 
1234567890 

1234567890 
1234567890 


ORIGINAL  OLD  STYLE  with  ITALIC  {10A4) 
Size,  .0692 


1234567890 
1234567890 

1234567890 
1234567890 


Where  Uvo  styles  of  figures  are  shown,  old  style  and  niodertrized,  specify  which  style  is  desired 


914 


LINOTYPE    FIGURES 


Two-Letter,  RouKU}  with  It(ilic—i  to  24  Point 


10  Point,  continued 

PABST  EXTRA  BOLD  CONDENSED  with  ITALIC 

(10/'>410)  Sizo,   .0692 

1234567890 
1234567890 

PABST  OLD  STYLE  with  ITALIC  (10Aig4) 
Size,  .0692 

1234567890 
1234567890 

SCOTCH  No.  2  with  ITALIC  (10A374)  Size,  .0692 

1234507890 

lSSJf507Sf)0 

1234507800  ^p"'^'  "°  ^  ^.ze,  .070 

123It5G7S90 

TEXTYPE  with  ITALIC  (10A324)  Size,  .0692 

1234567890 

1224567890 

1234567890  sp^oai  no.  3.  s.ze,  .074 

1234567890 

TITLE  No.  7  with  ITALIC  (10A178)  Size,  .0692 

1234567890 
1234567890 

UNILINE  with  ITALIC  (10A104)  Size,  .0692 

1234567890 
1234567890 

CASLON  with  ITALIC  (10A8)  Size,  .070 

1234567890 

1234567890 

1234567890 
1234567890 

DeVINNE  with  ITALIC  (10A24)  Size,  .070 

1234567890 
12345678.90 

No.  1  with  ITALIC  (lOAlO)  Size,  .070 

1234507890 
1231,567890 

No.  6  with  ITALIC  (IOA14)  Size,  .070 

12345G7890 
1234507800 

No.  13  with  ITALIC  (10A26)  Size,  .070 

123456781)0 

123J^5G7S90 

OLD  STYLE  No.  1  with  ITALIC  (lOAb)  Size,  .070 
1234567890 

i2^4j678qo 

1234567890 

12345678Q0 

SCOTCH  with  ITALIC  (10A36)  Size,  .070 

12345()7890 

133V07S00 

SCOTCH  No.  2  with  ITALIC  (10A374)  Size,  .070 

1234507800  ^p-^^'^i  <^°- 1 
l,2SJt567S90 


TITLE  No.  2  with  ITALIC  (10A40)  Size,  .070 
1234567890 

i234,'i67S(jo 
1 234567890 
1234567890 

TEXTYPE  with  ITALIC  (10A324)  Size,  .074 

1234567890  ^'■'''^^  ^°- ' 
1234567890 

BODONI  with  ITALIC  (10A218)  Size,  .0742 

1 234567890  sp«-ci3i  No.  3 
12:11567800 

BODONI  BOOK  with  ITALIC  (10A250)  Size,  .0742 

I234567iJ90Sp<"^iaiNo.  3 
12  34567 1'.OO 

No.  16  with  ITALIC  (10A48)  Size,  .0742 

123ir)()7890 

I2.V1 ')('>?  H90 

123  1567890  Special  No.  1.  Size,  .0761 

123^1 507  H90 

No.  24  with  ITALIC  (10A42)  Size,  .0742 

123 1567890 
im567S90 

No.  28  with  ITALIC  (10A54)  Size,  .0742 

1234507890 
1934567S90 

RUSSIAN  CONDENSED  No.  2  with  ITALIC 
(10A66)   Size,   .0742 

1234567890 
1234567890 

RUSSIAN  No.  11  with  ITALIC  (IOA88) 
Size,  .0742 

1234567890 
12PA567S90 

BOOKMAN  with  ITALIC  (10A428)  Size,  .0761 

1234567890 
1234567890 

CENTURY  EXPANDED  with  CENTURY  BOLD 
ITALIC  (10A226)  Size,  .0761 

1234567890 
1234567890 

GARAIVIOND  BOLD  with  ITALIC  (10A314) 
Size,  .0761 

1234567890 

123^567X90 

1234567890 
1234567890 

IONIC  No.  5  with  ITALIC  (10A390)  Size,  .0761 

1234567890 
1234567890 

No.  5  with  ITALIC  (10A2)  Size,  .0761 

1234507800 
12Ji567S9(J 

No.  16  with  ITALIC  (10A43)  Size,  .0761 

123  1567890  Special  No.  1 
123'i:)li7H90 


OPTICON  with  ITALIC  (10A468)  Size,  .0761 

1234567890 
1234567890 

PARAGON  with  ITALIC  (I0A448)  Size,  .0761 

12345G7890 
1234567890 

CENTURY  EXPANDED  with  ITALIC  (IOAI6) 
Size,  .077 

1234567890 
1234567890 

CHELTENHAM  with  ITALIC  (lOAlSi  Size,  .077 

1234567890 
1234567890 

BENEDICTINE  with  ITALIC  (10A240)  Size,  .083 

1234567890 
1234567890 
I  234567890 
1 2  j4^6y8g)o 

1234567890  SP«'^'  l^"-  '•  ^'^'-   •°^''2 

I2j4^6y890 

BENEDICTINE  BOLD  with  ITALIC  '10A296) 
Size,  .083 

1234567890 

12^4^6 j8go 
1234567890 
1234567890 

BENEDICTINE  BOOK  with  ITALIC  (10i292) 
Size,  .083 

I  234567890 

1 234^6/8go 
1234567890 
1234567890 

BODONI  BOLD  with  ITALIC  (10A196)  Size,  .083 

1234567890 
1234567890 


CHELTENHAM  BOLD  with  ITALIC  (10A82) 
Size,  .083 


1234567890 
1234567890 


CHELTENHAM  WIDE  with  CHELTENHAM  BOLD 
ITALIC  (10A266)  Size,  .083 


1234567890 
1234567890 


METROBLACK  No.  2  with  ITALIC  (10A476: 

Size,  .083 

1234567890 
7234567890 

PABST  EXTRA  BOLD  Willi  ITALIC  :10A320; 
Size,  .083 

1234567890 
1234567890 

VULCAN  BOLD  with  ITALIC  ilOA360)  Size,  .083 

1234567890 
1234567890 


H  special  No.  1 

o 


I,itKit)fl>r  fnirtiotis  for  the  abort'  fiftur 


•  showti  in  thr  fraction  acrt ion  imnu'diatrlj/  followinfi 


915 


Two-Letter,  Roman  with  Italic—-'^  to  24  Point 

LINOTYPE   FIGURES 

10  Point,  continued 

CHELTENHAM  with  ITALIC  (11A48)  Size,  .0761 

OLD  STYLE  No.  7  with  ITALIC  (11A5E) 

1234567890 

Size,  .0761 

MEMPHIS  EXTRA  BOLD  with  ITALIC  (10A444) 

Size,  .0968 

1234567890 

1234567890 

1234567890 

1234567890 

1234567890 

ELECTRA  with  ITALIC  (11A124) 
Size:  Figure  1,  .0622;  2  to  0,  .0761 

1234567890 

POSTER  BODONI  with  ITALIC  (10A326) 
Size,  .0968 

1234567890 

1234567890 

1234567890 

1234567890 

SCOTCH  No.  2  with  ITALIC  (llAllO)  Size,  .0761 

1234567890 

(Also  Special  No.  1  Figure  1,  .0761) 

1234567890 

1 2  34  C678QO  "'^^'^  °"  -^^ ''°'"'  ^°'^'''' 

1234567890 

101/2  Point 

1234567890 

1234567890  sp'=^'"' "°- 1- s'"' •"' 

OLD  STYLE  No.  7  with  ITALIC  (lOVzAz) 
Size,  .0692  (10  Point  Alignment) 

(Also  Special  No.  1  Figure  1,  .0761) 

1234567890 

1234567890      (Casts  on  10  Point  Body) 

T234s6y8Qo 

ELZEVIR  No.  3  with  ITALIC  (11A74)  Size,  .0761 
1234567890 

DeVINNE  with  ITALIC  (11A14)  Size,  .077 

1234567890 

11  Point 

I  234^67890 

1234567890 

12.34567890 

GRANJON  with  ITALIC  (11A102)  Size,  .0622 
1234567890 

i2^4^6y8go 

1234567800 

EXCELSIOR  with  ITALIC  (IIA120)  Size,  .0761 

No.  1  with  ITALIC  (11A2)  Size,  .077 

1234567890 
123J,561890 

1234567890 

1234567890 

No.  9  with  ITALIC  (IIAI8)  Size,  .077 

12345678% 

1234567890 

1234567890 

CLOISTER  with  ITALIC  (11A98)  Size,  .0657 

FRANKLIN  OLD  STYLE  with  ITALIC  (11A78) 

423J4567890 

1234567890 

Size,  .0761 

OLD  STYLE  No.  1  with  ITALIC  (11A4)  Size,  .077 

i234^6y8c)0 

1-^34567890 

i^345'^789o 

1234567890 

1234567890 

I2S456789O 

1234^67890 

1234567890 

1234567890 

BASKERVILLEwith  ITALIC  (IIA1I6)  Size,  .0761 

1234567890 

1234567890 

(10  Point  Alignment) 

1234567890 

i234}6y8po 
1234567890 

GARAMOND  with  ITALIC  (11A96)  Size,  .0761 

SCOTCH  with  ITALIC  (llAlO)  Size,  .077 

1234567890 

7234567S9O 

,.     Special  No.  2 

1234567890 

1237^567890 

1234567890 

5 

SCOTCH  No.  2  with  ITALIC  (llAllO)  Size,  .077 

5 

1234567890  5p^^'^'^°-i 

CAMBRIDGE  with  ITALIC  (11A8)  Size,  .0761 

123J^567890 

1234567890 

1234567890 

1234567890 

]2}4'>67890 

RUSSIAN  No.  1  with  ITALIC  (11A44)  Size,  .0816 

c      Special  No.  1 

1234567800 

CASLON  No.  2  with  ITALIC  (IIA112)  Size,  .0761 

1234567^90 

5 

1234567890 

1234567890 

GARAMOND  BOLD  No.  3  with  ITALIC  (11A130) 

CENTURY  EXPANDED  with  ITALIC  (11A104) 
Size,  .083 

1234567890 
1234567890 

Size,  .0761 

1234567890 
1234567890 

1234567890 

1232,567890 

CASLON  No.  137  with  ITALIC  (nAl22) 

CHELTENHAM  BOLD  with  ITALIC  (IIA1O6) 

Size,  .0761 

GARAMOND  No.  3  with  ITALIC  (11A126) 

Size,  .083 

1234567890 

Size,  .0761 

1234567890 

12^4^67890 

1234567890 

1234567890 
1234567890 

1234567890 

CASLON  with  ITALIC  (11A12)  Size,  .084 

1234567890 

JANSON  with  ITALIC  (llAllB)  Size,  .0761 

1234567890 

CASLON  OLD  FACE  with  ITALIC  (11A76) 

1234567890 

12345^7890 

Size,  .0761 

1234567890 
1234567890 

1234561890 

I  2  34567890  '^"^'^  °"  1^  P°'"'  "•'•'>'> 

1234567890 
1234567890 

1234567890 
i2343678go 

(Casts  on  10  point  body) 

i234^6']89o 

(Also  Special  No.  1  Figure  1,  .0622) 
No.  21  with  ITALIC  (11A56)  Size,  .0761 

BENEDICTINE  with  ITALIC  (11A84)  Size,  .0899 
I  234567890 
1234^678^0 

345      7     9      Special  No.  3. 

1234567890 

1234567890 

345    7    9 

1234567890 

1234567890 

IVJiere  two  stylrs  of  figures  are  shown,  old  style  and  modernized,  specify  which  style  is  desired 


916 


LINOTYPE    FIGURES 


Two- Letter,  Roman  with  Italic— 4-  to  24  Point 


1 1  Point,  contittucd 

BENEDICTINE  BOOK  with  ITALIC  (11A88) 
Size,  .0899 

I  234567890 

i2^4^6y8go 
1234567890 
1234567890 

BOOKMAN  with  ITALIC  (nAl32)  Size,  .0899 

1234567890 
1234567890 

DORIC  No.  1  with  BOLD  FACE  ITALIC  No.  4 

C11A42)  Size,  .1038 

1234567890 
1234507H(Mf 

111/2  Point 

CASLON  OLD  FACE  with  ITALIC  (1 IV2A4) 
Size,  .0761  (11  Point  Alignment) 

1234567890 
123 4567 890 

T  '"'  T  I  C^  —  Ron      'Casts  on  12  point  body) 

1234567890 

SCOTCH  with  ITALIC  (11V2A2)  Size,  .0816 
(11  Point  Alignment) 

1234567890 

123/^567890 

12  Point 

CLOISTER  with  ITALIC  (12A284)  Size,  .0692 


1234567890 

i2^4^6y8go 
1234567890 
1234567890 


ESTIENNE  with  ITALIC  (12A380)  Size,  .0692 
(11  Point  Alignment) 


Special  No.  1 


GRANJON  with  ITALIC  (12A288)  Size,  .0692 


1234567890 

i2]4^6y8go 
1234567890 
1234567890 


ANTIQUE  No.  1  with  ITALIC  (12A68)  Size,  .083 


1234567890 
1234567890 

1234567890 
1234567890 


BASKERVILLE  with  ITALIC  (12A314)  Size,  .083 
(11  Point  Alignment) 


i2345(578()() 

12?.4r)()78!)0 
1234^67  S'H) 


BENEDICTINE  with  ITALIC  (12A176)  Size,  .083 
I  234567890'"^^"'"°-^ 
72545(57590 

BODONI  with  ITALIC  (12A160)  Size,  .083 

12 345 67 890 
1234567890 

BODONI  BOOK  with  ITALIC  (12A186)  Size,  .083 

1234567890 
1234567890 

CASLON  No.  2  with  ITALIC  (12A74)  Size,  .083 

1234567890 

^23456/890 

1234567890 
12 54567 890 

CASLON  No.  3  with  ITALIC  (12A120)  Size,  .083 

1234567890 

1234567890 

1234567890 
1234567S90 


CASLON  No.  137  with  ITALIC  (12A440) 
Size,  .083 


1234567890 
1234567890 

1234567890 
1234567890 


CASLON  OLD  FACE  with  ITALIC  (12A236) 
Size,  .083 


1234567890 
12345^7890 

1234567890 

1234567890 


CENTURY  BOLD  with  ITALIC  (12A198) 

Size,  .083 


1234567890 
1234567890 


CENTURY  EXPANDED  with  CENTURY  BOLD 
ITALIC  (I2AI66)  Size,  .083 


1234567890 
1234567890 


CHELTENHAM  BOLD  CONDENSED  with  ITALIC 
(12A98)  Size,  .083 


1234567890 
1234567890 


CLOISTER  BOLD  with  ITALIC  (12A276) 
Size,  .083 


1234567890 
1234567890 


13  point  body) 


ELECTRA  with  ITALIC  (12A384) 
Size:  Figure  1,  .0692;  2  to  0,  .083 

1234567890 
i234567S90 

(Also  Special  No.  1  Figure  1,  .083) 
1234567(890  "^^^'^°"'' 

i2^^^6y8go 

(Also  Special  No.  1  Figure  1,  .083) 
ELZEVIR  No.  3  with  ITALIC  (12A224)  Size,  .083 
1234567890 

i234^67Sqo 
1234567890 
1 234567890 

ESTIENNE  with  ITALIC  (12A380)  Size,  .083 
(11  Point  Alignment) 

1234567890 
1234567890 
I  234567890 
12^4^678^0 


12 
12 


3456789c 
]45^7^9o 


Special  No.  1.  Size,  .0692 


FRANKLIN  OLD  STYLE  with  ITALIC  (12A240) 
Size,  .083 

1234567890 

'234567890 

1234567890 
1234567890 

GARAMONDwith  ITALIC  (12A278)  Size,  .083 
1234567890 

1234567^90 

Special  No.  2 

5 
1234567890 
1234>67^90 

c      Special  No.  1 

5 

GARAMOND  BOLD  No.  3  with  ITALIC  '12A452) 
Size,  .083 

1234567890 
1234567890 

GARAMOND  No.  3  with  ITALIC  (12A454) 
Size,  .083 

1234567890 
1234567890 

IONIC  No.  5  with  ITALIC  (12A320)  Size,  .083 

1234567890 
1234567890 

JANSOIM  with  ITALIC  (12A318)  Size,  .083 

1  2. H5  6  7  890 
1234)67890 

1234567890'''^'^""'"'°'""'"'^' 
iJ34)-6-j8po 

'Also  Special  No.  1  Figure  1,  .0622) 


Linotype  jrfirti<>uH  Jor  thi  uhon'  fit/uns  an-  shown  in  thr  fraction  section  imnndiutrly  folfowincf 


917 


Tivo-Letter,  Roman  with  Italic—^  to  24  Point 


LINOTYPE    FIGURES 


12  Point,  continued 

MEMPHIS  BOLD  with  ITALIC  (12A388) 
Size,  .083 

1234567890 
1234567890 

MEMPHIS  LIGHT  with  ITALIC  (12A390) 
Size,  .083 

1234567890 
1234S67890 

MEMPHIS  MEDIUM  with  ITALIC  (12A398) 
Size,  .083 

1234567890 
1234567890 

METROMEDIUM  No.  2  with  ITALIC  (12A464) 
Size,  .083 

1234567890 
7234567S90 

(Also  Special  No.  1  Figure  1,  .0692) 
No.  21  with  ITALIC  (12A262)  Size,  .083 

1234567890 

1234567890 

OLD  ROMAN  with  ITALIC  (12A128)  Size,  .083 

1234567890 
1234567890 

OLD  STYLE  No.  1  with  ANTIQUE  ITALIC  No.  1 
C12A78)  Size,  .083 

I 234567 Sqo 
1234567890 
1234567890 
1234567890 

OLD  STYLE  No.  3  with  ITALIC  (12A96)  Size,  .083 

1234567890 
1234567890 

1234567890 
1234567890 

OLD  STYLE  No.  7  with  ITALIC  (12A190) 
Size,  .083 


1234567890 
1234567890 

1234567890 
1234567890 


PABST  EXTRA  BOLD  CONDENSED  with  ITALIC 
(12A382)  Size,  .083 


1234567890 

1234S67890 


PABST  OLD  STYLE  with  ITALIC  (12A130) 
Size,  .083 

1234567890 
1234567890 

SCOTCH  No.  2  with  ITALIC  (12A374)  Size,  .083 

12345G7890 

123 4567 890 


VEXTYPE  with  ITALIC  (12A324)  Size,  .083 

1234567890 
1234567890 

TITLE  No.  2  with  ITALIC  (12A60)  Size,  .083 

1234567890 

1234567890 

1234567890 
1234567890 

TITLE  No.  7  with  ITALIC  (12A124)  Size,  .083 

1234567890 
1234567890 

UNILINE  with  ITALIC  (12A:00)  Size,  .083 

1234567890 
1234567890 

CASLON  with  ITALIC  (12A12)  Size,  .084 
1234567890 

I234sd/8Q0 
1234567890 
12345678Q0 

CHELTENHAM  with  ITALIC  (12A18)  Size,  .084 

1234567890 
1234567890 

DeVINNEwith  ITALIC  (12A14)  Size,  .084 

1234567890 
1234567890 

No.  1  with  ITALIC  (12A2)  Size,  .084 

1234567890 
1234567890 

OLD  STYLE  No.  1  with  ITALIC  (12A4)  Size,  .084 

1234567890 

1234567800 

1234567890 
1224567890 

ORIGINAL  OLD  STYLE  with  ITALIC  (12A6) 
Size,  .084 


1234567890 
I234567S9O 

1234567890 
1234567890 

SCOTCH  with  ITALIC  (12A10)  Size,  .084 

1234567890 

1234567890 

No.  16  with  ITALIC  (12A40)  Size,  .039 

1234567890 
1234567890 

RUSSIAN  CONDENSED  No.  2  with  ITALIC 
(12A54)  Size,  .089 


1234567890 

1234567890 


RUSSIAN  No.  11  with  ITALIC  (12A48)  Size,  .089 


1234567800 
1234567890 


CHELTENHAM  BOLD  with  ITALIC  (12A46) 
Size,  .0899 


1234567890 
1234567890 

CHELTENHAM  WIDE  with  CHELTENHAM  BOLD 
ITALIC  {12A196)  Size,  .0899 

1234567890 
1234567890 

CLASSIC  with  ITALIC  (12A20)  Size,  .090 

1234567890 
1234567890 

CENTURY  EXPANDED  with  ITALIC  (12A22) 

Size,  .091 


1234567890 

1234567890 

BENEDICTINE  with  ITALIC  (12A176)  Size,  .0968 

1234567890 

1234567890 

1 234567890 

1 234^67890 

1 234567890 ''''^''"°-'''"-°" 

1234567890 

BENEDICTINE  BOLD  with  ITALIC  (12A260) 

Size,  .0968 

1234567890 
1234567890 

1234567890 
1234567890 

BENEDICTINE  BOOK  with  ITALIC  (12A258) 
Size,  .0968 

I  234567890 

I  234567890 

1234567890 
1234567890 

BODONI  BOLD  with  ITALIC  (12A132)  Size,  .0968 

1234567890 
1234567890 

BOOKMAN  with  ITALIC  (12A444)  Size,  .0968 

1234567890 
1234567890 

DeVINNE  OUTLINE  with  ITALIC  (12A108) 
Size,  .0968 

1234567890 

GARAMOND  BOLD  with  ITALIC  {12A286) 
Size,  .0968 

1234567890 

12^4567890 

1234567890 
1234567890 


WJirre  two  styles  of  figures  are  shown,  old  style  and  modernized,  specify  which  style  is  desired 


918 


LINOTYPE    FIGURES 


Iwo-Letter,  Roman  with  Italic— 4  to  24  Point 


12  Point,  eotitiiiiieff 

METROBLACK  No.  2  with  ITALIC  (12A476) 

Size,  .0968 

1234567890 
7234567890 


METROLITE  No.  2  with  ITALIC  (12A478) 
Size,  .0968 


1234567890 
1234567890 


PABST  EXTRA  BOLD  with  ITALIC  (12A292) 
Size,  .0968 


1234567890 
1234567890 


TITLE  No.  5  with  TITLE  ITALIC  No.  6  (12A114) 
Size,  .0968 

1234567890 
123456T890 

VULCAN  BOLD  with  ITALIC  (12A300)  Size,  .0968 

1234567890 
1234567890 

Special  No.  1 


12 


o 
o 


MEMPHIS  EXTRA  BOLD  with  ITALIC  (12A458) 
Size,  .1107 

1234567890 
1234567890 

POSTER  BODONI  with  ITALIC  (12A298) 
Size,  .1107 

1334567890 
1234567890 


14  Point 

CLOISTER  with  ITALIC  (14A162)  Size,  ,083 
1234567890 

i2^4^6y8go 
1234567890 
1234567890 

GRANJON  with  ITALIC  (14A170)  Size,  .083 
1234567890 

1234567890 
1234567890 

ANTIQUE  No.  1  with  ITALIC  (14A56)  Size,  .0968 

1234567890 

1234567890 

1234567890 
1234567890 


BASKERVILLEwith  ITALIC  (14A188)  Size,  .0968 
(13  Point  Alignment) 

1234567890 

i2^^^6y8po 
12345(37890 
1234567890 

BENEDICTINE  with  ITALIC  (14A106)  Size,  .0968 

1234567890'""^"°" 
1234567890 
1234567890'"^'^'"°" 
i2^4^6j8go 

BODONI  with  ITALIC  (14A94)  Size,  .0968 

1234567890 
1234567890 

BODONI  BOOK  with  ITALIC  (14A114)  Size,  .0968 

1234567890 
1234567890 

CASLON  with  ITALIC  (14A34)  Size,  .0968 

1234567890 

I2343678QO 

1234567890 
12345678Q0 

CASLON  No.  3  with  ITALIC  (14A54)  Size,  .0968 

1234567890 

1234567890 

1234567890 
1234567890 

CASLON  OLD  FACE  with  ITALIC  (14A132) 
Size,  .0968 

1234567890 
1234567S90 

1234567890 
12345^7890 


Special  No.  2 


(Casts  on  13  point  body) 

345   7   9 

.U5    7    Q 


CENTURY  BOLD  with  ITALIC  (14A124) 
Size,  .0968 

1234567890 
1234567890 


CENTURY  EXPANDED  with  CENTURY  BOLD 
ITALIC  (14A102)  Size,  .0968 


1234567890 
1234567890 


CENTURY  EXPANDED  with  ITALIC  (14A58) 

Size,   ,0968 

1234567890'"^'^'"°" 
1234567890 

CHELTENHAM  with  CHELTENHAM  BOLD 
CONDENSED  ITALIC  (14A128)  Size,  .0968 

1234567890 
1234567890 

CHELTENHAM  with  ITALIC  (14A4)  Size,  .0968 

1234567890 
1234567890 

CHELTENHAM  BOLD  CONDENSED  with  ITALIC 

(14A46)   Size,   .0968 

1234567890 
1234567890 

CLOISTER  BOLD  with  ITALIC  (14A154) 
Size,  .0968 

1234567890 
1234567890 

DeVINNE  with  ITALIC  (14A84)  Size,  .0968 

1234567890 
1234567890 

ELECTRA  with  ITALIC  (14A216) 
Size:  Figure  1,  .083;  2  to  0,  .0968 

1234567890 

121,^56^8^0 

(Also  Special  No.  1  Figure  1,  .0968) 

1234567890 
1234567890 

(AI50  Special  No.  1  Figure  1,  .0968) 
ELZEVIR  No.  3  with  ITALIC  (14A126)  Size,  .0968 


1234567890 

i23456y8Q0 

1234567890 
I2345O7SO0 


ESTIENNEwith  ITALIC  (14A202)  Size,  .0968 
(Special  Alignment) 

1234567890 

/  2  1^4.56-^8^0 

1234567890 
]2j4567890 

EXCELSIOR  with  ITALIC  (14A218)  Size,  .0968 

1234567890 
1234567890 


Linotype  jractiona  for  the  nbovf  jiijurt  s  iirr  ahoivti  in  the  fraction  firciion  immediately  folhiwintj 


919 


Tivo-Letter,  Roman  with  Italic— A^  to  24  Point 


LINOTYPE    FIGURES 


14  Point,  coiitinticd 

FRANKLIN  OLD  STYLE  with  ITALIC  (14A134) 

Size,  .0968 

1234567890 

i2S45<^7S90 
1234567890 
1234567890 

GARAMOND  with  ITALIC  (14A156)  Size,  .0968 
I  234567890 

Z23456789O 

Special  No.  2 

5 
1234567890 
1234567^90 

c        Special  No.  1 

5 

GARAMOND  BOLD  No.  3  with  ITALIC  (14A228) 

Size,  .0968 

1234567890 

1234567890 

GARAMOND  No.  3  with  ITALIC  (14A236) 
Size,  .0968 

1234567890 
1234367890 

JANSON  with  ITALIC  (14A178)  Size,  .0968 
(13  Point  Alignment) 


1234567890 
1234)61890 
I  234567890 
i2^4j6j8po 


(Also  Special  No.  1  Figure  1,  .0692) 

MEMPHIS  BOLD  with  ITALIC  (14A206) 
Size,  .0968 

1234567890 
1234567890 

MEMPHIS  LIGHT  with  ITALIC  (14A208) 
Size,  .0968 

1234567890 
1234567890 

MEMPHIS  MEDIUM  with  ITALIC  (14A212) 
Size,  .0968 

1234567890 
1234567890 

METROMEDIUM  No.  2  with  ITALIC  (14A246) 

Size,  .0968 

1234567890 
T 234567890 

OLD  ROMAN  with  ITALIC  (14A64)  Size,  .0968 

1234567890 
1234567890 


jlD  STYLE  No.  1  with  ITALIC  (14A76) 
Size,  .0968 

1234567890 
1234367890 

1234567890 
1234567890 

OLD  STYLE  No.  7  with  ITALIC  (14A120) 
Size,  .0968 

1234567890 
1234567890 

1234567890 
1234567890 

ORIGINAL  OLD  STYLE  with  ITALIC  (14A2) 
Size,  .0968 

1234567890 

1234567890 

1234567890 
1234567890 

PABST  EXTRA  BOLD  CONDENSED  with  ITALIC 

(14A204)  Size,  .0968 

1234567890 
1234567890 

PABST  OLD  STYLE  with  ITALIC  (14A66) 
Size,  .0968 

1234567890 
1234567890 

SCOTCH  with  ITALIC  {14A142)  Size,  .0968 

1234567890 

1234567890 

TEXTYPE  with  ITALIC  (14A220)  Size,  .0968 

1234567890 
1234567890 

TITLE  No.  5  with  No.  7  ITALIC  (14A108) 

Size,  .0968 

1234567890 

1234567890 

TITLE  No.  7  with  ITALIC  (14A60)  Size,  .0968 

1234567890 
1234567890 

No.  36  with  ITALIC  (14A12)  Size,  .098 

1234567890 
1234567890 

CENTURY  EXPANDED  with  ITALIC  (14A58) 
Size,  .1037 

1234567890 
1231^567890 

Special  No.  1.  Size,  .0968 

1234567890 

1234567890 


No.  16  with  ITALIC  (14A14)  Size,  .1038 

1234567890 
1234567890 

BENEDICTINE  with  ITALIC  (14A106)  Size,  .1107 

1234567890 
1234567890 
1 234567890 
1 234567890 

Special  No.  1.  Size,  .0968 
1234567890 

1234567890 

Special  No.  1.  Size,  .0968 

1234567890 
1234567890 

BENEDICTINE  BOLD  with  ITALIC  (14A150) 
Size,  .1107 

1234567890 

i2345678go 
1234567890 
1234567890 

BENEDICTINE  BOOK  with  ITALIC  (14A146) 
Size,  .1107 

1234567890 

1234567890 

1234567890 
1234567890 

BODONI  BOLD  with  ITALIC  (14A68)  Size,  .1107 

1234567890 
1234567890 

BOOKMAN  with  ITALIC  (14A232)  Size,  .1107 

1234567890 
1234567890 

CHELTENHAM  BOLD  with  ITALIC  (14A30) 

Size,  .1107 

1234567890 
1234567890 

CLEARFACE  BOLD  with  ITALIC  (14A148) 
Size,  .1107.  (15  Point  Alignment) 

1234567890 
1234567890 


DeVINNE  OUTLINE  with  ITALIC  (14A52) 
Size,  .1107 


1234567S 


W}ier^  tiiHi  stylrs  of  fiijures  are  shown,  old  style  and  modernized,  specify  which  style  is  desired 


920 


LINOTYPE    FIGUKES 


TiDO- Letter ,  Roman  with  Italic—^  to  "iA^  Point 


14  Point,  contiiiiied 

GARAWIOND  BOLD  with  ITALIC  (14A164) 
Size,  .1107 


I  234567890 

12345  6j8^o 
1234567890 
1234567890 

MEMPHIS  EXTRA  BOLD  with  ITALIC  (14/1234) 

1234567890 
1234567890 

METROBLACK  No.  2  with  ITALIC  (14A250) 
Size,  .1107 

1234567890 
7234567890 

PABST  EXTRA  BOLD  with  ITALIC  (14A172) 
Size,  .1107 

1234567890 
1234567890 

POSTER  BODONI  with  ITALIC  (14A174) 
Size,  .1107 

1234567890 
1234567890 

VULCAN  BOLD  with  ITALIC  ;14::.176)  Size,  .1107 

1234567890 
1234567890 

^  _  Special  No.  1 

iz  o 

18  Point 

BENEDICTINE  with  ITALIC  (I8AI8)  Size,  .1107 

1234567890 
1234567890 


BODONI  with  ITALIC  (18A38)  Size,  .1107 
(16  Point  Alignment) 

1234567890 
1234567890 

BODONI  BOLD  with  ITALIC  (18A10)  Sue,  .1107 
(16  Point  Alignment) 

1234567890 
1234567890 

CENTURY  EXPANDED  with  ITALIC  (13A44) 
Size,  .1107 

1234567890 
1234567890 

CHELTENHAM  BOLD  CONDENSED  with  ITALIC 
(18A24)  Size,  .1107 

1234567890 
1234567890 


CLOISTER  with  ITALIC  (18A14) 
Size:  Figure  1,  .0968;  2  to  0,  .1107 
(16  Point  Alignment) 

1234567890 
1234567890 


CLOISTER  BOLD  with  ITALIC  (18A12) 
Size:  Figure  1,  .0968;  2  to  0,  .1107 
(16  Point  Alignment) 

1234567890 
1234567890 

GARAMOND  BOLD  with  ITALIC  (18A22) 
Size:  Figure  1,  .0968;  2  to  0,  ,1107 
(16  Point  Alignment) 

1234567890 
1234567890 

GARAMOND  BOLD  No.  3  with  ITALIC  (18A58) 
Size:  Figure  1,  .0968;  2  to  0,  .1107 
(16  Point  Alignment) 

1234567890 
1234%7890 

GARAMOND  No.  3  with  ITALIC  (18A62) 
Size:  Figure  1,  .0968;  2  to  0,  .1107 
(16  Point  Alignment) 

1234567890 
1234)67890 

MEMPHIS  BOLD  with  ITALIC  (18A20) 
Size,  .1107 

1234567890 
1234567890 

MEMPHIS  MEDIUM  with  ITALIC  (18A28) 

1234567890 
1234567890 

METROBLACK  No.  2  with  ITALIC  (18A46) 

1234567890 
7234567890 

Special  No.  1 

Size:  Figure  1,  .1107;  2  to  0,  .1522 

1234567890 
7234567890 

METROLITE  No.  2  with  ITALIC  (I8A50) 

1234567890 
1234567890 


METROMEDIUM  No.  2  with  ITALIC  (18A54) 

1 '234567890 
7234567890 

TEXTYPE  with  ITALIC  '  18A30)  Size,  .1107 

1234567890 
1234567890 

MEMPHIS  EXTRA  BOLD  with  ITALIC  (13A52) 

Size:  Figure  1,  .1)07;  2  to  0,  J^P.~i 

1234567890 
2234567890 

METROBLACK  No.  2  with  ITALIC  (18A46) 

Special  No.  I 

Size:  Figure  1,  .1107;  2  to  0,  .1522 

1234567890 
7234567890 

CASLON  No.  3  with  ITALIC  (18A66) 
Size:  Figure  1,  .1383;  2  to  0,  .166 
(19  Point  Alignment) 

1234567890 
1234567890 

PABST  EXTRA  BOLD  with  ITALIC  {13A42) 
Size,  .166 

1234567S90 
1234567890 

POSTER  BODONI  with  ITALIC  (18A26) 
Size:  Figure  1,  .1522;  2  to  0,  .1798 

1334567890 
12345G7890 

24  Point 

CLOISTER  BOLD  with  ITALIC  '24A12) 
Size:  Figure  1,  .1245;  2  to  0,  .1522 

(22  Point  Alignment) 

1234567890 
1234567890 

GARAMOND  BOLD  No.  3  with  ITALIC  (24A58) 
Size:  Figure  1,  .1245;  2  to  0,  .1522 
(22  Point  Alignment) 

1234567890 

1234567890 

BODONI  BOLD  with  ITALIC  (24A10) 
Size:  Figure  1,  .1383;  2  to  0,  AM, 
(22  Point  Alignment) 

1234567890 
1234567890 


IJntftf/pr  frarfiotis  for  thf  nfiorr  fiirurrs  arr  sfHurn  in  thr  fraction  m-rtion  imytn'iliatrltf  followittg 


921 


Two-Letter,  RoTnan  with  Italic— 4i  to  24  Point 


LINOTYPE   FIGURES 


34  Point,  continued 

GARAMOND  BOLD  with  ITALIC  (2'1A22) 
Size:  Figure  1,  .1383;  2  to  0,  .166 
(22  Point  Alignment) 

1234567890 
1234567890 

WIETROBLACK  No.  2  with  ITALIC  (24A46) 
Size:  Figure  1,  .1383;  2  to  0,  .1937 

1234567890 
1234567890 

METROLITE  No.  2  with  ITALIC  (24A50) 
Size:  Figure  1,  .1383;  2  to  0,  .1937 

1234567890 
1234567890 


METROMEDIUM  No.  2  with  ITALIC  (24A54) 
Size:  Figure  1,  .1383;  2  to  0,  .1937 

1234567890 
1234567890 

CASLON  No.  3  with  ITALIC  (24A66) 
Size:  Figure  1,  .1798;  2  to  0,  .2075 

123456789 
123456789 

POSTER  BODONI  with  ITALIC  (24A26) 
Size:  Figure  1,  .1937;  2  to  0,  .249 

1:^345678 
12345678 


TWO-LETTER, 
ROMAN  tmth  BOLD-4  to  24  Point 


4  Point 


CENTURY  EXPANDED  with  GOTHIC  No.  16 

(4A2)  Size,  .0484 

1234.';67890 
1234567890 


43^  Point 


No.  6  with  GOTHIC  No.  16  (43/,A2)  Size,  .0553 

(Special  Alignment) 
12.34.507890 
1234567890 


5  Point 


EXCELSIOR  with  BOLD  FACE  No.  2  (5A32) 

Size.  .0415 
1234567890 
1234567890 

1234567890  Special  No.  1.  Size,  .050 
1234567890 

EXCELSIOR  with  GOTHIC  No.  3  (5A3b) 

Size,  .0415 
1234567890 
1234567890 

IONIC  No.  5  with  BOLD  FACE  No.  2  (5A24) 

Size,  .0415 
1234567890 
1234567890 

No.  10  with  GOTHIC  No.  4  (5A2)  Size,  .0415 

lL'34.-.678flO 

1234567890 

12.T45678no  Special  No.  1.  Size,  .0484 

1234567890 

123451)7800  Special  No.  2.  Size,  .0519 

1234567890 

OLD  STYLE  No.  1  with  CHELTENHAM  BOLD 

(5A20)    Size,  .0415 
1.^34567890 
1234567890 
]  2,)4567R90 
1234567890 


No.  1  With  GOTHIC  CONDENSED  No.  1  (5A4) 

Size,  .046 
12:?4."i(i7S<in 

1234567890 

No.  18  with  ANTIQUE  BLACK  No.  1  (5A18) 

Size,  .046 
lL>.'!4.^(i7,s!»0    Special  No.  2 
1234567890 

No.  10  with  GOTHIC  No.  4  (5A2)  Size,  .0484 

123  1. '107 8(10  Special  No.  1 

1234567890 

EXCELSIOR  with  BOLD  FACE  No.  2  (5A32) 

Size,  .050 
1234567890  Special  No.  1 
1234567890 

No.  10  with  GOTHIC  No.  4  (5A2)  Size,  .0519 

12345fi7s:i(i  Special  No.  2 

1234567890 

No.  18  with  ANTIQUE  BLACK  No.  1  (5A18) 

Size,  .0553 
lL'34.-(-7890 
1234567890 

1234.W7.'il)0  Special  No.  2.  Size,  .046 
1234567890 

No.  22  with  SPECIAL  GOTHIC  No.  9  (5A14) 

Size,  .0732 
1  2 .3  4  .5  r,  7  8  ;  I O 
I234567890 


51/2  Point 


TELETYPE  IONIC  No.  5  with  BOLD  FACE  No.  2 

(5»'2A52)  Size,  .0441 
1234567890 
1234567890 

EXCELSIOR  with  BOLD  FACE  No.  2  (5V2A48) 

Size,  .046 
1234567890 
I234.)fi7890 

1234567890  Special  No.  2.  Size,  .050 
1334567890 


EXCELSIOR  with  GOTHIC  No.  3  (5V2A54) 

Size,  .046 
1234567890 
1234567890 

IONIC  No.  5  with  BOLD  FACE  No.  2  (5V2A42) 

Size,  .046 
1234567890 
1234567800 

1234567890  Special  No.  2.  Size,  .050 
1234567890 

No.  1  with  CLARENDON  No.  1  (5V2A8)  Size,  .046 

1234507890 

1234567890 

1234.-|07f<!"i  Special  No.  1.  Size,  .050 

1234567890 

No.  2B  with  BOLD  FACE  No.  28  (5V2A36) 

Size,  .046 
1234567S(:i0  Special  No.  1 
1234567890 

1234.567890  Special  No.  2 
1234567890 

1234.567890  Special  No.  3 
1234567890 

No.  11  with  GOTHIC  CONDENSED  No.  4 

(5V2A24)  Size,  .0484 
12345678!in 
1234567890 

12345C78II1I  Special  No.  1 
1234567890 

OPTICON  with  BOLD  FACE  No.  2  (5V2A60) 

Size,  .0484 
1234567890 
1234567890 

EXCELSIOR  with  BOLD  FACE  No.  2  (5V2A48) 

Size,  .050 
1234567890  Special  No.  2 
1234567890 

IONIC  No.  5  with  BOLD  FACE  No.  2  (5V2A42) 

Size,  .050 
1234567890  Special  No.  2 
12345G7890 

IONIC  No.  5  with  GOTHIC  No.  16  (5V2A64) 

Size,  .050 
1234567890 
1234567890 

No.  1  with  BOLD  FACE  No.  2  (5V2A12)  Size,  .050 

1234."i(i7S9() 

1234567890 

No.  1  with  CLARENDON  No.  1  (5V2A8)  Size,  .050 

12345(!7,siMi  Special  No.  1 

1234567890 

No.  2  with  BOLD  FACE  No.  2  (5V2A2)  Size,  .050 

1234567890 

1234567890 

No.  28  with  BOLD  FACE  No.  28  (5V2A36) 

Size,  .050 
1234567890 
1234567890 

1234567890  Special  No.  1.  Size,  .046 
1234567890 

1234567800  Special  No.  2.  Size,  .046 

1234567890 

lL'34.".i;7s(Ki  Special  No.  3.  Size,  .046 

123456789(1 

PARAGON  with  PARAGON  BOLD  (5V2A66) 

Size,  .050 
1234567890 
1234567890 

GOTHIC  No.  17  with  BOLD  FACE  No.  2  (5V2A28) 

Size,  .0519 
1234567890 
1234567890 

No.  4  with  BOLD  FACE  No.  2  Condensed  (5V2A32) 

Size,  .0553 
1234567890 
12345G7890 

234507  Special  No.  1 

234567 


Where  Uvo  styles  oi figures  are  shoivn,  old  style  a}id  modernized,  specify  which  style  is  desired 


922 


LINOTYPE    FIGURES 


Two-Letter,  Roman  with  Bold— 4:  to  24  Point 


51/2  Point,  continued 

No.  4  with  GOTHIC  No.  9  (5V2A46)  Size,  .0553 

l'-;;!46l)78!l() 

1234567890 

No.  1  with  BOLD  FACE  No.  1  (S'/zAlO)  Size,  .063 
1  2  3  t.-. (;7n:io 

BOLD  FACE  No.  1  with  10  Point  CLARENDON 
No.  1  (5V2A14)  Size,  .070 

i:i:Mr.(;7.KjM» 

1234567890  'i°  p<""»  ^I'^inis"" 


6  Point 

BOLD  FACE  No.  9C  with  GOTHIC  No.  31C 

(6A214)  Size:  Figure  1,  .0346;  2  to  0,  .0415 
(Special  Alignment) 

123I567R90 
1234567890 

(Also  Special  No.  1  Figure  1,  .0415) 

GOTHIC  No.  25A  with  GOTHIC  CONDENSED 
No.  2  (6A164)  Size,  .0415 

1 234567890 

1234567890 

GOTHIC  No.  29C  with  GOTHIC  No.  30C  (6A206) 
Size:  Figure  1,  .0346;  2  to  0,  ,0415 
(Special  Alignment) 

1234567890 
1234567890 

(Also  Special  No.  1  Figure  1,  .0415) 

GOTHIC  No.  31C  with  GOTHIC  No.  32C  (6A262) 
Size:  Figure  1,  .0346;  2  to  0,  .0415 
(Special  Alignment) 

1234567890 

1234567890 

(Also  Special  No.  1  Figure  1,  .0415) 

GOTHIC  No.  31C  with  GOTHIC  No.  33C  (6A270) 
Size:  Figure  1,  .0346;  2  to  0,  .0415 
(Special  Alignment) 

1234567890 
1234567890 

GOTHIC  No.  32C  with  GOTHIC  No.  33C  (6A242) 
Size:  Figure  1,  .0346;  2  to  0,  ,0415 
(Special  Alignment) 

T234567890 
1234567890 

(Also  Special  No.  1  Figure  1,  ,0415) 

GRANJON  with  GRANJON  BOLD  (6A306) 

Size,  .0415 
1234567890 
1234567890 

No.  21  with  ANTIQUE  No,  6  (6A88)  Size,  .0415 

1234.'')67,S<)0 

1234567890 

OLD  STYLE  No.  1  with  CHELTENHAM  BOLD 

(6A124)  Size,  .0415 
I2?4^67890 
1234567890 
12.M,S67890 
1234567890 

OLD  STYLE  No,  1  with  TITLE  No.  1  (6A90i 

Size,  .0415 
1254567890 
1234567890 
12.14.S67890 
1234567890 

OLD  STYLE  No.  1  with  TITLE  No.  2  (6A112) 

Size,  .0415 
1234567890 
1234567890 
1234567890 
1234567890 

No.  2  with  GOTHIC  CONDENSED  No.  2  (bA82) 
Size,  .042 

i234.';r.78;io 

1234567890 

No.  12  with  GOTHIC  No.  8  (6A32)  Size,  .042 


VliUMilH'.}!)  Special  No.  4 
1234567890 


No.  28  with  Egyptienne  Seree  No.  1  (6A60) 

Size,  .045 
ly:)  1507800 
1234567890 

BELL  GOTHIC  LIGHT  and  BOLD  '6A418) 

Size,  .0484 
1234567890 
1234567890 

CENTURY  EXPANDED  with  CENTURY  BOLD 

(6A94)  Size,  .0484 
12;i4.507890 
1234567890 

EXCELSIOR  with  BOLD  FACE  No,  2  (6A314) 

Size,  .0484 
1234567890 
1234567890 

EXCELSIOR  with  GOTHIC  No.  3  (6A366) 

Size,  .0484 
1234567890 
1234567890 

EXCELSIOR  with  MEMPHIS  BOLD  (6A426) 

Size,  .0484 
1234567890 
1234567890 

GOTHIC  No.  25B  with  8  Point  GOTHIC 
CONDENSED  No.  2  (6AI66)  Size,  .0484 

1234567890 

1234567890  <8  Point  Alignment) 

IONIC  No.  5  with  BOLD  FACE  No.  2  (6A288) 

Size,  .0484 
1234567890 
1234567890 

LINING  MEMPHIS  LIGHT  B  with  LINING 
MEMPHIS  BOLD  B  (6A386)  Size,  .0484 
(Special  Alignment) 

1234567390 
1234567890 

LINING  METROMEDIUM  B  with  LINING 
METROTHIN  B  (6A380)  Size,  .0484 
(Special  Alignment) 

1234S67890 

1234567890 

MEMPHIS  LIGHT  with  MEMPHIS  BOLD  (6A322) 

Size,  .0484 
1234567890 
1234567890 

MEMPHIS  MEDIUM  with  MEMPHIS  BOLD 

(6A416)  Size,  .0484 
1234567890 
1234567890 

METROMEDIUM  with  METROTHIN  16A300} 

Size,  .0484 
1234567890 
1234567890 

(Also  Special  No.  1  Figure  1,  .0346) 
No.  1  with  BOLD  FACE  No.  2  (6A12)  Size,  .0484 

r2;',4r)t;78;Mi 

1 23456*890 

No.  8  with  BOLD  FACE  No.  2  (faAl22)  Size,  .0484 

1234567890 

1234r>fi78<)0 

No.  10  with  GOTHIC  No.  4  (6A76)  Size,  .0484 

12.S4ri(;78itO 

1234567890 

No.  11  with  GOTHIC  CONDENSED  No.  4  (6A120) 

Size,  .0484 
1234.-)G78nO 
1234567S90 

3   50   SO     Special  No.  1 
3  -ib  89 

5   Special  No.  2 
5 
1234567890  Special  No.  6.  Size,  .0534 
12345b7890 

5    Special  No.  7 
5 
12345(i;s:Hl  Special  No.  i    Size,  .0553 
1234567890 

3    5    Special  No.  4 
3   5 
(8  Point  Alignment.  8  Point  Body) 
12:i45f;7S!m  Special  No.  9.  Size,  .0484 
1234567890 


No.  IIB  with  GOTHIC  CONDENSED  No.  4B 

(6A176)  Size,  .0484 
1234507890 
1234567890 

No.  16  with  CENTURY  BOLD  (6AH0)  Size,  .0484 

1234.5(i7800 

1234567890 

TELETYPE  EXCELSIOR  with  GOTHIC  No.  3 

(6A324)  Size,  .0484 
1234567890 
1234567890 

TEXTYPE  with  BOLD  FACE  No.  2  (6A29fa) 

Size,  .0484 
1234567890 
1234567890 

1234567890  Special  No.  5.  Size,  .056 
1234567890 

No.  1  with  CLARENDON  No.  1  '6A48)  Size,  .050 

r_'.'!4.".67s;iO 

1234567890 

No.  2  with  CONDENSED  TITLE  No.  3  (6A1I8) 

Size,  .050 
1234567890 
1234.167890 

No.  2  with  GOTHIC  No.  3  (6A6)  Size,  .050 

1234567S90 

1234567890 

OLD  STYLE  No.  1  with  ANTIQUE  No.  1  (6A14) 

Size,  .050 
1234567890 
1234567890 
I2.i4.ii.7S90 
1234567890 

TELETYPE  PARAGON  with  PARAGON  BOLD 

(6A432)  Size,  .050 
12345G7890 
1234567890 

GERMAN  No.  3  with  BOLD  FACE  No.  2  (6AI8) 

Size,  .052 
1234567890 
1234567890 

No.  11  with  GOTHIC  CONDENSED  No.  4  (6A120) 

Size,  .0534 
l:i;?45G7S!IO  Special  No.  b 
1234567890 

5    Special  No.  7 
5 

BENEDICTINE  BOOK  with  BENEDICTINE 

(6A264)   Size,   .0553 
1234567890 
1234567890 

BOLD  FACE  9B  with  GOTHIC  No.  31B  (6A216) 
Size:  Figure  1,  .0415;  2  to  0,  .0553 
(Special  Alignment) 

I  2:1  l.'ir>7Hl>0 
I234S67890 

(Also  Special  No.  1  Figure  1,  .0553) 

CENTURY  EXPANDED  with  CHELTENHAM  BOLD 

(6A172)  Size,   .0553 
1234567890 
1234567890 

CHELTENHAM  WIDE  with  CHELTENHAM  BOLD 

(6A1B0)  Size,  .0553 
1234567890 
1234567890 

CLOISTER  WIDE  with  CLOISTER  BOLD  (6A276) 

Size,  .0553 
1234567890 
1234567890 

GOTHIC  No.  29A  with  GOTHIC  No.  30A  (6A210,. 
Size:  Figure  1,  .0346:  2  to  0,  .0553 
(Special  Alignment) 

1234567890 
1234567890 

(Also  Special  No.  1  Figure  1,  .0553) 


Lhi<>tiii>r  fractidiis  for  the  nliorr  fifiiinx  (in-  xhoirn  in  thf  jiarlion  m-flion  imtiirdialt'lji  following 


923 


Two-Letter,  Roman  with  Bold— 4!  to  24  Point 


LINOTYPE   FIGURES 


6  Point,  i-otilititied 

GOTHIC  No.  29B  with  GOTHIC  No.  30B  (6A208) 

Size:  Figure  1,  .0346;  2  to  0,  .0553 
(Special  Alignment) 

1234567890 
1234567690 

(Also  Special  No.  1  Figure  1,  .0553) 

GOTHIC  No.  31B  with  GOTHIC  No.  32B  '6A260) 
Size:  Figure  1,  .0415;  2  to  0,  .0553 
(Special  Alignment) 

1234567890 

1234567890 

(Also  Special  No.  1  Figure  1,  .0553) 

GOTHIC  No.  31B  with  GOTHIC  No.  33B  (6A254) 
Size:  Figure  1,  .0415;  2  to  0,  .0553 
(Special  Alignment) 

1234567890 
1234567890 

GOTHIC  No.  32B  with  GOTHIC  No.  33B  (6A240) 
Size:  Figure  1,  .0415;  2  to  0,  .0553 
(Special  Alignment) 

1234567890 
1234567890 

(Also  Special  No.  1  Figure  1,  .0553) 

LINING  MEMPHIS  LIGHT  A  with  LINING 
MEMPHIS  BOLD  A  (6A384)  Size,  .0553 
(Special  Alignment) 

1234567890 

1234567890 

LINING  METROMEDIUM  A  with  LINING 
METROTHIN  A  (6A378)  Size,  .0553 
(Special  Alignment) 

1234567890 

1234S67690 

METROBLACK  with  METROLITE  (6A298) 

Size,  .0553 
1234567890 

1234567890 

(Also  Special  No.  1  Figure  1,  .0415) 

No.  11  with  GOTHIC  CONDENSED  No.  4  (6A120) 

Size,  .0553 
1234567890  Special  No.  3 
1234567890 

3    5   Special  No.  4 

3  5 

No.  12  with  GOTHIC  No.  8  (6A32)  Size,  .0553 

1234.')67890 

1234567890 

1  234507890  Special  No.  1 

1234567890 

12345(37890  Special  No.  4.  Size,  .042 

1234567S90 

3  Special  No.  3.  Size,  .0553 
3 

56       9    Special  No.  2.  Size,  .0553 

5b      9 

No.  17  with  CONDENSED  TITLE  No.  5  (6A132) 

Size,  .0553 
1234567890 
1234567890 

OPTICON  with  BOLD  FACE  No.  2  (6A420) 

Size,  .0553 
1234567890 
1234567890 

PARAGON  with  PARAGON  BOLD  (6A388) 

Size,  .0553 
1234567890 
1234567890 

DeVINNE  with  ANTIQUE  No.  3  (feA28)  Size,  .056 

1234,567890 

1234567890 

DeVINNE  with  GOTHIC  No.  7  (6A44)  Size,  .056 

1234567890 

1234567890 

No.  1  with  BOLD  FACE  No.  1  (6A46)  Size,  .056 

1234507890 

1234507890 


No.  1  with  GOTHIC  No.  2  (6A36)  Size,  .056 

1234567890 

1234567890 

No.  1  with  GOTHIC  No.  8  (6A100)  Size,  .056 

1234567890 

1234567S90 

No.  2  with  ANTIQUE  No.  2  (6A50)  Size,  .056 

1234567890 

1234567890 

No.  2  with  BOLD  FACE  No.  1  (6A70)  Size,  .056 

1234567890 

1234567890 

No.  2  with  BOLD  FACE  No.  2  (6A186)  Size,  .056 

1234567890 

1234567890 

TEXTYPE  with  BOLD  FACE  No.  2  (6A296) 

Size,  .056 
1234567890  Special  No.  5 
1234567890 

No.  28  with  ANTIQUE  BLACK  No.  1  (6A74) 

Size,  .0593 
1234567890 
1234567890 

GOTHIC  No.  25C  with  GOTHIC  No.  26C  (6A168) 

Size,  .0622 
1234567890 

1234567890 

LINING  MEMPHIS  LIGHT  with  LINING 
MEMPHIS  BOLD  (6A382)  Size,  .0622 
(Special  Alignment) 

1234567890 

1234567890 

LINING  METROMEDIUM  with  LINING 
METROTHIN  (6A376)  Size,  .0622 
(Special  Alignment) 

1234567890 

1234567690 

BOLD  FACE  No.  9A  with  GOTHIC  No.  31A 

(6A218)  Size:  Figure  1,  .0553;  2  to  0,  .0692 
(Special  Alignment) 

1234567890 

1234567890 

(Also  Special  No.  1  Figure  1,  .0692) 

GOTHIC  No.  25  with  GOTHIC  No.  26  (6A170) 

Size,  .0692 
1234567890 

1234567890 

GOTHIC  No.  29  with  GOTHIC  No.  30  (6A204) 
Size:  Figure  1,  .0415;  2  to  0,  .0692 
(Special  Alignment) 

1234567890 

1234567890 

(Also  Special  No.  1  Figure  1,  .0692) 

GOTHIC  No.  31A  with  GOTHIC  No.  32A  (6A258) 
Size:  Figure  1,  .0553;  2  to  0,  .0692 
(Special  Alignment) 

1234567890 

1234567890 

(Also  Special  No.  1  Figure  1,  .0692) 

GOTHIC  No.  31A  with  GOTHIC  No.  33A  (6A252) 
Size:  Figure  1,  .0553;  2  to  0,  .0692 
(Special  Alignment) 

1234567890 
I234567890 

GOTHIC  No.  32A  with  GOTHIC  No.  33A  (6A238) 
Size:  Figure  1,  .0553;  2  to  0,  .0692 
(Special  Alignment) 

1234567890 
1234567890 

(Also  Special  No.  1  Figure  1,  .0692) 

LINING  CARD  GOTHIC  MEDIUM  with  BOLD 
(6A414)  Size:  Figure  1,  .0415;  2  to  0,  .0692 
(Special  Alignment) 

123456789Q 
1234567890 


BOLD  FACE  No.  9  with  GOTHIC  No.  31  (6A212) 
Size:  Figure  1,  .0692;  2  to  0,  .083 
(Special  Alignment) 

1234567S90 

1234567890 

(Also  Special  No.  1  Figure  1,  .083) 

GOTHIC  No.  31  with  GOTHIC  No.  32  (6A256) 
Size:  Figure  1,  .0692;  2  to  0,  .083 
(Special  Alignment) 

1234567890 

1234567890 

(Also  Special  No.  1  Figure  1,  .083) 

GOTHIC  No.  31  with  GOTHIC  No.  33  (6A248) 
Size:  Figure  1,  .0692;  2  to  0,  .083 

(Special  Alignment) 

1234567890 
1234567890 

GOTHIC  No.  32  with  GOTHIC  No.  33  (6A236) 
Size:  Figure  1,  .0692;  2  to  0,  .083 
(Special  Alignment) 

1234567890 
1234567890 

(Also  Special  No.  1  Figure  1,  .083) 


61/2  Point 


No.  2A  with  BOLD  FACE  No.  2A  (6V2A4) 

Size,  .050.  (6  Point  Alignment) 
1234567890 
1234567890 

IONIC  No.  5  with  BOLD  FACE  No.  2  (6V2A2) 

Size,  .0553 
1234567890 
1234567890 


63/4  Point 


IONIC  No.  5  with  BOLD  FACE  No.  2  (63/,A2) 
Size,  .0553.  (7  Point  Alignment) 

1234567890 
1234567890 


7  Point 


TEXTYPE  with  BOLD  FACE  No.  2  (7A130) 
Size,  .0484 

1234567890 
1234567890 

No.  21  with  GOTHIC  No.  4  (7A102)  Size,  .049 

1234567890 

1234567890 

EGYPTIENNE  SERREE  No.  1  with  NORMANDE 
No.  4  (7A24)  Size,  .0519 

1234567890 
12.'54567890 

No.  28  with  EGYPTIENNE  SEREE  No.  1  (7A20) 
Size,  .0519 

1234567890 
1234567890 

No.  28  with  NORMANDE  No.  4  (7A40) 
Size,  .0519 

1234567890 
1234567890 

BELL  GOTHIC  LIGHT  and  BOLD  (7AI88) 

Size,  .0553 

1234567890 

1234567890 

CENTURY  EXPANDED  with  CENTURY  BOLD 

(7A80)  Size,  .0553 
1234567890 
1234567890 

EXCELSIOR  No.  1  with  BOLD  FACE  No.  2 

(7A138)  Size,  .0553 

1234567890 
1234567890 


Where  two  styles  of  figures  are  shown,  old  style  and  modernized,  specify  which  style  is  desired 


924 


LINOTYPE    FIGURES 


1  WO- Letter ,  Roman  with  Bold— 4-  to  24  Point 


7  Point.  rotifiiiii<>(I 

EXCELSIOR  No.  1  with  GOTHIC  No.  3  (7A156) 
Size,  .0553 

1234567890 
1234567890 

EXCELSIOR  No.  2  with  BOLD  FACE  IMo,  2 
(7A136)  Size,  .0553 

1234567890 
1234567890 

EXCELSIOR  No.  2  with  GOTHIC  Mc.  3  {7A158) 

Size,  .0553 
1234567890 
1234567890 

IONIC  No.  5  with  BOLD  FACE  No.  2  (7A122) 
Size,  .0553 

1234567890 
1234567890 

No.  2  with  BOLD  FACE  No.  2  (7A86)  Size,  .0553 

1234567890 

1234567890 

No.  2  with  CONDENSED  TITLE  No.  3  (7Afe2) 

Size,  .0553 
1234567890 
1234567890 

No.  12  with  GOTHIC  No.  11  (7A118)  Size,  .0553 

1234567890 

1234567890 

No.  16  with  CENTURY  BOLD  (7A50)  Size,  .0553 

1234567890 
1234567890 

OLD  STYLE  No.  1  with  ANTIQUE  No.  1 

(7A48)  Size,  .0553 
1234567890 
1234567890 
1234567890 
1234567890 

TELETYPE  PARAGON  with  PARAGON  BOLD 

f7A186)  Size,  .0553 

1234567890 
1234367890 

No.  2  with  GOTHIC  No.  3  (7A30)  Size,  .056 

1234567890 

1234567890 

No.  1  with  BOLD  FACE  No.  1  (7A38)  Size,  .059 

12345C78!K) 
1234567890 

No.  1  with  BOLD  FACE  No.  2  (7A90)  Size,  .059 

1234r)G7Si>() 
1234567890 

OPTICON  with  BOLD  FACE  No.  2  (7A166) 
Size,  .059 

1234567890 
1234567890 

PARAGON  with  PARAGON  BOLD  (7A162) 
Size,  .059 

1234567890 
1234567890 

No.  1  with  GOTHIC  No.  4  (7A42)  Size,  .0593 

1234r)(i7S9(» 

1234567890 

BENEDICTINE  BOOK  with  BENEDICTINE 

(7A120)  Size,  ,0622 

I  234567890 
I  234567890 
1234567890 
1234567890 

No.  2  with  GOTHIC  No.  8  (7A74)  Size,  .0622 

1234567S!lll 

1234567890 


No.  2  with  BOLD  FACE  No.  1  (7A2)  Size,  .063 

1234567890 

1234567890 

No.  2  with  ANTIQUE  BLACK  No.  1  (7A58) 

Size,  .0667 
]  2  34567890 
1234567890 

No.  28  with  ANTIQUE  BLACK  No.  1  {7A22) 

Size,  .0667 

123'i5(m890 
1 234567890 

No.  1  with  DORIC  No.  1  (7A28J  Size,  .077 

1  2. ".4  no  7  son 

1234567890 


71/2  Point 


EXCELSIOR  with  BOLD  FACE  No.  2  (7i.2A6) 
Size,  .0622 

1234567890 
1234567890 

IONIC  No.  5  with  BOLD  FACE  No.  2  (7V2A2) 
Size,  .0622.  (8  Point  Alignment) 

1234567890 
1234567890 

OPTICON  with  BOLD  FACE  No,  2  (7V2A10) 
Size,  .0622 

1234567890 
1234567890 

PARAGON  with  PARAGON  BOLD  (7V2A18) 
Size,  .0622 

1234567890 
1234567890 


73/4  Point 


EXCELSIOR  with  BOLD  FACE  No.  2  (734A2) 
Size,  .0622.  (8  Point  Alignment) 

1234567890 
1234567890 

8  Point 

CHELTENHAM  CONDENSED  with  CHELTENHAM 
BOLD  CONDENSED  (8A:66)  Size,  .0553 

1234567890 
1234567890 

DeVINNE  with  7  Point  CENTURY  BOLD  (8A230) 
Size,  .0553 

1234567890 
1234567890 

ERBAR  LIGHT  CONDENSED  with  ERBAR  BOLD 
CONDENSED  (RA50'!)  Size,  .0553 

1234567890 
1234567890 

GOTHIC  No.  13  with  CHELTENHAM  BOLD 
CONDENSED  (8A318)  Size,  .0553 

I2345678S0 
1234567890 

GOTHIC  No.  13  with  DeVINNE  CONDENSED 

(8A204)   Size,    ,n553 

1234567890 
1234567890 

GRANJON  with  GRANJON  BOLD  (8A418) 
Size,  .0553 

12.^4567890 
1234567890 

IONIC  No.  4  with  ANTIQUE  No.  8  (8A452) 
Size,  .0553 

1234567890 
1234567890 


IONIC  No.  4  with  ANTIQUE  No.  8  Self  Spacing 
(8A454)  Size,  .0553 

1234567890 
1234567890 

MEMPHIS  LIGHT  and  BOLD  '8A442)  Size,  .0553 

1234567890 
1234567890 

MEMPHIS  MEDIUM  with  MEMPHIS  BOLD 
(8A488)  Size,  .0553 

1234567890 
1234567890 

METROMEDIUM  with  METROTHIN  (8A414) 
Size,  ,0553 

1234567890 

1234567890 

(Also  Special  No.  1  Figure  1,  .0415) 

No.  17  with  CONDENSED  TITLE  No.  5  (8A242; 
Size,  .0553 

1234567890 
1234567890 

No.  21  with  ANTIQUE  No.  b  (8A282)  Size,  .0553 
(High  Alignment) 

1234567890 
1234567890 

No.  21  with  ANTIQUE  No.  6  (8A140)  Size,  .0553 

1234567890 
1234567890 

No.  26  with  ANTIQUE  No.  2  (8A126i  Size,  .0553 

1234567890 
1234567890 

OLD  STYLE  No.  1  with  CHELTENHAM  BOLD 

(8A218)  Size,  ,0553 

1234567890 

1234567890 

1234567890 
1234567890 

OLD  STYLE  No.  1  with  TITLE  No.  1  (8A134) 
Size,  .0553 

1234567890 
1234567890 

12345(j7890 
1234567890 

OLD  STYLE  No.  1  with  TITLE  No.  2  (8A196) 
Size,  .0553 

1234567890 
1234567890 

12,^4567890 
1234567890 

]  23456)7890  Special  No.  1.  Size,  .070 
1234567890 

RAILROAD  IONIC  No.  3  with  ANTIQUE  No.  2 

(8A124)  Size,  .0553 

1234567890 
1234567890 

SCOTCH  with  JENSON  {8A162)  Size,  .0553 

12:?45()78!IO 

J234567890 

TELETYPE  No.  2  with  CONDENSED  TITLE  No.  3 

(8A500)  Size,  .0553 

1234567890 
1234567890 

TEXTYPE  with  BOLD  FACE  No.  2  (8A394) 
Size,  .0553 

1234567890 
1234567890 

1234567890  '•p'^'^'^'  "o.  3.  Size,  .059 
1234567890 


Li))ot}/pr  frarfions  fur  tfn    ulx 


shiiirti  )>t  (hf  frarfinn  strtitm   iynrnrdldtrlu  tnlhurinff 


925 


Iwo- Letter,  Roman  with  Bold 

-4  to  24  Point 

LINOTYPE    FIGURES 

8  Point,  continued 

ho.  4  with  CLARENDON  No.  1  (8A72) 

EXCELSIOR  No.  1  with  BOLD  FACE  No.  2 

Size,  .059 

(8A424)  Size,  .0622 

UMILINE  with  TITLE  No.  1  (SAqo)  Size,  .0553 
1234567890 

(High  Alignment) 
1234567800 
1234567890 

1234567890 
1234567890 

1234567890 

1234567890 

1234507800  Special  No.  1.  Size,  .056 

EXCELSIOR  No.  2  with  BOLD  FACE  No.  2 

1234567890 

(8A440)  Size,  .0622 

1234567890 

1234567890 

OLD  STYLE  No.  1  with  ANTIQUE  No.  1  (8A50) 

1234567890 

No.  4  with  CLAREIMDON  No.  1  (8A72) 

Size,  .059 

Size,  .056 
(High  Alignment) 

1234567890 

EXCELSIOR  No.  2  with  GOTHIC  No.  3  (8A468) 

1234507800  Special  No.  1 

1234567890 

Size,  .0622 

1234567890 

1234567890 

1234567890 

1234567890 

1234567890 

No.  4  with  CLARENDON  No.  1  (8A74) 

1234567890  Special  No.  1.  Size,  .056 

Size,  .056 

1234567890 

IONIC  No.  5   with  BOLD  FACE  No.  2  (8A382) 
Size,  .0622 

1334567800  Special  No.  1 

1234567890 

TEXTYPE  with  BOLD  FACE  No.  2  (8A394) 

1234567890 

Size,  .059 

1234567890 

No.  12  with  GOTHIC  No.  11  (8A158)  Size,  .056 

1234567890  Specal  No.  3 

1234567890 

1234567890 

No.  16  with  CENTURY  BOLD  (8A128)  Size,  .0622 

1234567890 

1234567890 

EGYPTIENNE  SEREE  No.  1  with  NORMANDE 

1234567890 

No.  19  with  TITLE  No.  1  (8A40)  Size,  .056 

No.  4  (8A46)  Size,  .0593 

(High  Alignment) 

1234567890 

PARAGON  with  PARAGON  BOLD  (8A462) 

1234567890 

1234567S90 

Size,  .0622 

1234567890 

1234567890 

1234.5<)7890 

No.  28  with  EGYPTIENNE  SERRE  No.  1  (8A56) 
Size,  .0593 

1234567890 

1234567890 

1234567890 
1234567890 

GERMAN  No.  3  with  BOLD  FACE  No.  2  (8A20) 

OLD  STYLE  No.  1  with  ANTIQUE  No.  1  (8A50) 

Size,  .0665 

Size,  .056 

1234567890 

1234567890  Special  No.  1 

No.  28  with  NORMANDE  No.  4  (8A92)  Size,  .0593 

1234567890 

1234567890 

1234567890 

12345fi7,S9n 

BENEDICTINE  BOOK  with  BENEDICTINE 

No.  2  with  CONDENSED  TITLE  No.  3  (8A6) 

(8A366)  Size,  .0692 

Size,  .0588 

RUSSIAN  CONDENSED  No.  2  with  ANTIQUE 

I  234567890 
I  234567890 

1234567890 

BLACK  No.  2  (8A94)  Size,  .0593 

123456:s90 

1234567890 
1234567890 

1234567890 
1234567890 

DeVINNE  with  ANTIQUE  No.  3  (8A16)  Size,  .059 

(High  Alignment) 

RUSSIAN  No.  3  LIGHT  and  BOLD  (8A120) 

1234567890 

Size,  .0593 

CENTURY  EXPANDED  with  CHELTENHAM 

BOLD  (8A254)  Size,  .0692 

1234567890 

1234567890 
1234567890 

1234567890 
1234567890 

DeVINNE  with  ANTIQUE  No.  3  (8A164)  Size,  .059 

1234507890 

RUSSIAN  No.  11  with  ANTIQUE  BLACK  No.  2 

(8A58)  Size,  .0593 

CHELTENHAM  WIDE  with  CHELTENHAM  BOLD 

1234567890 

1234.^67890 
1234567890 

(8A156)  Size,  .0692 

DeVINNE  with  TITLE  No.  1  (8A234)  Size,  .059 

1234567890 
1234567890 

1234567800 

TELETYPE  IONIC  No.  5  with  BOLD  FACE  No.  2 

1234567890 

(8A518)  Size,  .0599 

ELZEVIR  with  CHELTENHAM  BOLD  (8A104) 

1234567890 

1234567890 

Size,  .0692 

1234567890 

1234567890 

1234567890 
1234567890 

No.  1  with  BOLD  FACE  No.  2  (8A194)  Size,  .059 

BELL  GOTHIC  LIGHT  and  BOLD  (8A508) 

12345G7890 
1234567890 

Size,  .0622 
1234567890 
1234567890 

GOTHIC  No.  3  with  1 ITLE  No.  2  (8AI68) 
Size,  .0692 

1234567890 

2    Special  No.  2 

1234567890 

2 

CENTURY  EXPANDED  with  CENTURY  BOLD 
(8A122)  Size,  .0622 

1234567890 

No.  1  with  GOTHIC  CONDENSED  No.  2  (8A132) 
Size,  .059 
(High  Alignment) 

1234567890 

1234567890 

1234567890 

GOTHIC  No.  44  with  GOTHIC  No.  42  (8A490) 

1234567.890 

Size:  Figure  1,  .0553;  2  to  0,  .0692 

1234567890 

CLASSIC  with  CENTURY  BOLD  (8A108) 
Size,  .0622 

1234567890 

No.  2  with  GOTHIC  No.  3  (8A70)  Size,  .059 

1234567890 

1234567890 

(High  Alignment) 

1234567890 

GOTHIC  No.  45  with  GOTHIC  No.  43  (8A492) 

1234567890 

Size:  Figure  1,  .0553;  2  to  0,  .0692 

1234567890 

CLOISTER  WIDE  with  CLOISTER  BOLD  (8A374) 
Size,  .0622 

1234567890 

1234567890 

1234567890 

No.  4  with  CLARENDON  No.  1  (8A74) 

Size,  .059 

1234567890 

METROBLACK  with  METROLITE  (8A410) 

1234567800 

EXCELSIOR  with  MEIViPHIS  BOLD  (8A502) 

Size,  .0692 

1234567890 

Size,  .0622 

1234567890 

1234567800  Special  No.  1.  Size,  .056 

1234567890 

1234567890 

1234567890 

1234567890 

(Also  Special  No.  1  Figure  1,  .0553) 

Whf-re  two  styles  of  Unures  are  shown,  old  style  and  modernized,  specify  which  style  is  desired 


926 


LINOTYPE    FIGURES 


Two- Letter ,  Roman  with  Bold—^  to  24  Point 


8  Point,  vontinui'd 

No.  1  with  TITLE  No.  2  (8A192)  Size,  .0692 

i2;{4n«7S!i() 
1234567890 

ii;;i45(i7s!i(» 

1234567890 

No.  2  (Higli  Aligiidient)  with  10  Point 
CLARENDON  No.  1  (8A88)  Size.  .0692 

12  3  45678  [10 

1234567890  <1°  P°'"'  Alignment) 

OPTICON  with  BOLD  FACE  No.  2  (8A482) 
Size,  .0692 

1234567890 
1234567890 

REMINGTON  No.  2  with  REMINGTON  No.  3 

(8A422)  Size,  .0692 

] 234567890 
1234567890 

GOTHIC  No.  3  (High  Alignment)  with  10  Point 
CLARENDON  No.  1  (8A66)  Size,  .070 

1234567890 

1234567890  '^°  ''"'"*  Ali'Jinient) 

GOTHIC  No.  3  with  10  Point  CLARENDON  No.  1 

(8A144)  Size,  .070 

1234567890 

1234567890  ""^  f"'"*  Alignment) 

IONIC  No.  1  (High  Alignment)  with  10  Point 
CLARENDON  No.  1  (8A62)  Size,  .070 

1234567890 

1234567890  '1°  P"'"'  Alignment) 

IONIC  No.  1  with  10  Point  CLARENDON  No.  1 

(8A178)  Size,  .070 

1234567890 

1234567890  '10  f"'"'  Aiigiment) 

No.  2  with  BOLD  FACE  No.  1  (8A8)  Size,  .070 
(High  Alignment) 

1234567890 
1334307890 

No.  2  with  BOLD  FACE  No.  1  (8A210)  Size,  .070 

123456789  0 
1234367890 

No.  2  with  GOTHIC  No.  8  (8A240)  Size,  .070 

1234567890 

1234567890 

OLD  STYLE  No.  1  with  TITLE  No.  2  (8A196) 
Size,  .070 

1234567890  special  No.  1 

1234567890 

No.  28  with  ANTIQUE  BLACK  No,  1  (8A52) 
Size,  .0742 

12;i'i5()7.S'.Mi 
1234567890 

GOTHIC  No.  16  with  CHELTENHAM  BOLD 

(8A320)  Size,  .083 

1234567890 

1234567890 

GOTHIC  No.  16  with  TITLE  No.  4  (8A2O6) 
Size,  .083 

1234567890 

1234567890 

TARIFF  TYPEWRITER  (aA434)  Size,  .0833 

1E34567890 
1E34567890 

GOTHIC  No.  25  with  GOTHIC  No.  26  (8A2b6) 
Size,  .0899,  (9  Point  Alignment) 

1234567890 

1234567890 


9  Point 

MEMPHIS  LIGHT  with  BOLD  nAl40)  Size,  .0622 

1234567890 
1234567890 

OLD  STYLE  No.  1  with  ANTIQUE  No.  1  (9A48) 
Size,  .0622 

1234567890 
1234567890 
1234567X90 
1234567890 

TEXTYPE  with  BOLD  FACE  No,  2  (9An8) 
Size,  .0622 

1234567890 
1234567890 

DeVINNE  with  ANTIQUE  No.  3    (9A6)  Size,  .063 

rj:!4r,(i7si)(i 
1234567890 

3    5    Special  No.  1 

3  5 

DeVINNE  with  10  Point  GOTHIC  No.  4  (9A42) 
Size,  .0667.  (11  Point  Alignment) 

1284.567890 
1234567890 

EGYPTIENNE  SERREE  No.  1  with  NORMANDE 
No.  4  (9A26)  Size,  .0667 

1234567890 
l2;i45fi7,S9n 

No.  28  with  EGYPTIENNE  SERREE  No.  1 

(9Al4)  Size,  .0667 

12:U567S00 
1234567890 

No.  28  with  NORMANDE  No.  4  (9A24)  Size,  .0667 

12a4ri<17800 
12;{i  567890 

CENTURY  EXPANDED  with  CENTURY  BOLD 

(9A72)   Size,   .0692 

1234567890 
1234567890 

EXCELSIOR  with  BOLD  FACE  No.  2  (9A136) 

Size,   .0692 

1234567890 
1234567890 

IONIC  No.  5  with  BOLD  FACE  No.  2  (9A112) 
Size,  .0692 

1234567890 
1234567890 

No.  16  with  CENTURY  BOLD  (9A56)  Size,  .0692 

12.345(i789() 
1234567890 

OPTICON  with  BOLD  FACE  No.  2  (9A162) 

Size,  .0692 

1234567890 
1234567890 

PARAGON  with  PARAGON  BOLD  19A158) 
Size,  .0692 

1234567S90 
1234567890 

GERMAN  No.  3  with  BOLD  FACE  No.  2  (9A10) 
Size,  .074 

1284567800 
1234567890 


BENEDICTINE  BOOK  with  BENEDICTINE 

(9/,100)  Size,   .0761 

I  234567890 
I  234567890 

1234567890 
1234567890 

No.  28  with  ANTIQUE  BLACK  No.  1  (9A34) 

Size,  .081  fc 

12;5ir)()78!)0 
1 234567890 

No.  2  with  BOLD  FACE  No.  1  (9A40)  Size,  .083 

1234567890 
1234567890 


10  Point 

ERBAR  LIGHT  CONDENSED  with  ERBAR  BOLD 
CONDENSED  (10A416)  Size,  .0622 

1234567890 
1234567890 

GRANJON  with  GRANJON  BOLD  (10A376) 

Size,  .0622 


1234567890 
1234567890 

1234567S90 
1234567890 


CHELTENHAM  CONDENSED  with  CHELTENHAM 
BOLD  CONDENSED  (10A142)  Size,  ,0692 


1234567890 
1234567890 


CLASSIC  with  CENTURY  BOLD  (IOA86) 
Size,   .0692 

1234567890 
1234567890 

CLOISTER  WIDE  with  CLOISTER  BOLD  (10A306) 
Size,  .0692 

1234567890 
1234567890 

EXCELSIOR  with  BOLD  FACE  No.  2  (10A380) 
Size,  .0692 


1234567890 
1234567890 

EXCELSIOR  with  MEMPHIS  BOLD  (10A466) 
Size,  .0692 

1234567890 
1234567890 

GOTHIC  No.  13  with  CHELTENHAM  BOLD 
CONDENSED  '10A286)  Size,  .0692 

1234567890 
1234567890 

GOTHIC  No.  13  with  DeVINNE  CONDENSED 

(10A154)  Size,  .0692 


1234567890 

I234.S678Q0 


MEMPHIS  LIGHT  with  MEMPHIS  BOLD  (10A398) 
Size,  .0692 


1234567890 
1234567890 


MEMPHIS  MEDIUM  with  MEMPHIS  BOLD 

'  in.A.i's  11  >;:.T,  ,0692 


1234567890 
1234567890 


TJtutfffpr  frarti(>i}H  for  thr  <ihotuf'u/Kris  nrr  showv  itt  the  fraction  srrii<>}i  imrnnliatrhf  follini'iiuj 


927 


Tivo-Letter,  Roman  with  Bold— 4!  to  24  Point 


LINOTYPE   FIGURES 


10  Point,  cotttinued 

METROMEDIUM  with  METROTHIIM  (10A370) 

Size,  .0692 

1234567890 

1 234567890 

(Also  Special  No.  1  Figure  1,  .0553) 
No.  21  with  ANTIQUE  No.  6  (10A124)  Size,  .0692 

1234567890 
1234567890 

OLD  STYLE  No.  1  with  CHELTENHAM  BOLD 

(10A158)  Size,  .0692 

1234567890 

1234567890 

1234567890 
1234567890 

OLD  STYLE  No.  1  with  TITLE  No.  1  (10A120) 
Size,  .0692 

1234567890 

1234567890 

1234567890 
1234567890 

OLD  STYLE  No.  1  with  TITLE  No.  2  (10A170) 
Size,  .0692 

1234567890 

1234567890 

1234567890 
1234567890 

SCOTCH  with  JENSON  (10A138)  Size,  .0692 

J2;}t567890 

J 234567890 

TEXTYPE  with  BOLD  FACE  No.  2  (10A322) 
Size,  .0692 

1234567890 
1234567890 

1234567890  ^p^"^'^'  ^o-  '■  si"-  ■"') 
1234567890 

UNILIIME  with  TITLE  No.  1  (10A72)  Size,  .0692 

1234567890 
1234567890 
1234567890 
1234567890 

DeVINNE  with  ANTIQUE  No.  3  (10A12)  Size,  .070 

1234567890 
1234567890 

DeVINNE  with  TITLE  No.  1  (IOA2O6)  Size,  .070 

1234567890 
1234567890 

No.  13  with  CLARENDON  No.  1  (10A56) 
Size,  .070 

12345G7890 
1234567890 


OLD  STYLE  No.  1  with  ANTIQUE  No.  1  (10A44) 
Size,  .070 


1234567890 
1234567890 

1234567890 
1234567890 


OLD  STYLE  No.  1  with  CLARENDON  No.  1 

(10A58)  Size,  .070 

1234567890 

1234567890 

1234567890 
1234567890 

GERMAN  No.  3  with  BOLD  FACE  No.  2  (10A38) 
Size,  .074 

1234567890 
1234567890 

TEXTYPE  with  BOLD  FACE  No.  2  C10A322) 

Size,  .074 

1234567890  sp^^'^i  No.  3 
1234567890 

EGYPTIENNE  SERRE  No.  3  with  NORMANDE 
No.  4  (10A132)  Size,  .0742 

1234567890 

i23'ir)(;7s;M) 

No.  14  with  CLARENDON  No.  1  (10A176) 
Size,  .0742 


1234567890 
1234567890 


No.  28  with  EGYPTIENNE  SEREE  No.  1  (10A68) 
Size,  .0742 


1234567890 
1234567890 

No.  28  with  NORIVIANDE  No.  4  (10A74) 
Size,  .0742 

1234567890 
1234567890 

RUSSIAN  CONDENSED  No.  2  with  ANTIQUE 
BLACK  No.  2  (10A90)  Size,  .0742 

12:]-I5r)7890 
1234567890 

RUSSIAN  No.  3  LIGHT  and  BOLD  (10A1O8) 
Size,  .0742 

1234567890 
1234567890 

RUSSIAN  No.  11  wif-  ANTIQUE  BLACK  No.  2 
(IOA8O)  Size,  .0742 

1234567890 
1234567890 

SMALL  RUSSIAN  No.  3  LIGHT  with  BOLD 
(lOAllO)  Size,  .0742 

1234567890 
1234537890 

CENTURY  EXPANDED  with  CENTURY  BOLD 
(10A112)  Size,  .0761 

1234567890 
1234567890 

IONIC  No.  5  with  BOLD  FACE  No.  2  (10A392) 

Size,  .0761 

1234567890 
1234567890 

No.  2  with  CONDENSED  TITLE  No.  3  (10A114) 
Size,  .0761 

1234567890 
1234507890 

No.  2  with  GOTHIC  No.  3  (10A162)  Size,  .0761 

1234567890 
1234567890 


No.  16  with  CENTURY  BOLD  (10A1I6) 
Size,  .0761 

1234567890 
1234567890 

OPTICON  with  BOLD  FACE  No.  2  (10A470) 
Size,  .0761 

1234567890 
1234567890 

PARAGON  with  PARAGON  BOLD  (10A450) 
Size,  .0761 

1234567890 
1234567890 

BENEDICTINE  BOOK  with  BENEDICTINE 

(10A298)  Size,  .083 


I  234567890 
I  234567890 

1234567890 
1234567890 


CENTURY  EXPANDED  with  CHELTENHAM  BOLD 
(IOA2OS)  Size,  .083 

1234567890 
1234567890 

CHELTENHAM  WIDE  with  CHELTENHAM  BOLD 

(10A134)  Size,  .083 

1234567890 
1234567890 

DeVINNE  OUTLINE  with  BOLD  FACE  No.  6 

(10A276)  Size,  .083 

1234567890 
1234567890 

ELZEVIR  with  CHELTENHAM  BOLD  (10A84) 
Size,  .083 

12H5678O0 
1234567890 

2  Q  Special  No.  1 


GOTHIC  No.  3  with  12  Point  DeVINNE 
CONDENSED  (10A136)  Size,  .083 

1234567890 

1 234567890'^' ''""'*''''"'"•'"" 

GOTHIC  No.  3  with  11  Point  GOTHIC 

CONDENSED  No.  1  {IOAIO2)  Size,  .083 

1234567890 

1 234567890 '^p^'''*'^"'"'"" 

GOTHIC  No.  44  with  GOTHIC  No.  42  (10A456) 
Size:  Figure  1,  .0692;  2  to  0,  .083 

1234567890 

1234567890 

GOTHIC  No.  45  with  GOTHIC  No.  43  (10A458) 
Size:  Figure  1,  .0692;  2  to  0,  .083 

1234567890 

1234567890 

METROBLACK  with  METROLITE  (10A364) 
Size,  .083 

1234567890 

1234567890 

(Also  Special  No.  1  Figure  1,  .0692) 

RONALDSON  No.  6  with  12  Point  ELZEVIR 
No.  2  (10A190)  Size,  .083 

I  234567890 

1234567890'^''°'"'*''^""'"" 


Where  two  styles  of  figures  are  shoivn,  old  style  and  modernized,  speeify  which  style  is  desired 


928 


LINOTYPE    FIGUKES 


Two-Letter ,  Rotnan  ivith  Bold— 4  to  24  Point 


10  Point.  eoti(tiiiic>fi 

UNILINE  with  12  Point  ELZEVIR  No.  2 

(10A182)  Si?e,  .083 


1234567890 
1234567890 


(12  Point  Aligniiii-nt) 


No.  28  with  ANTIQUE  BLACK  No.  1  (10A152) 
Size,  .089 

l23ir)(;7Si)(i 
1234567890 

ANTIQUE  No.  3  with  12  Point  GOTHIC 
CONDENSED  No.  1  (10A70)  Size,  .0899 

1234567890 

1234567890  ''^""*'^""" 

GOTHIC  No.  16  with  CHELTENHAM  BOLD 

(10A288)   Si.:e,   .0968 

1234567890 

1234567890 

GOTHIC  No.  16  with  TITLE  No.  4  (10A156) 

Size,  .0968 

1234567890 

1234567890 

GOTHIC  No.  25  with  GOTHIC  No.  26  (10A228) 
Size,  .1107.  (11  Point  Alignment) 

1 234567890 

1234567890 

11  Point 

GRANJON  with  GRANJON  BOLD  (11A114) 
Size,  .0622 

1234567890 

1234567890 

1234567SO0 
1234567890 

CENTURY  EXPANDED  with  CENTURY  BOLD 

(11A70)  Size,  .0761 

1234567890 
1234567890 

EXCELSIOR  with  BOLD  FACE  No.  2  (11A128) 
Size,  .0761 

1234567890 
1234567890 

No.  1  with  CENTURY  BOLD  (11A72)  Size,  .0761 

1234567S!)0 
1234567890 

DeVINNE  with  ANTIQUE  No.  3  (IIAI6) 
Size,  .077 


1234567S!)() 
1234567890 


OLD  STYLE  No.  1  with  ANTIQUE  No.  1  111A22) 
Size,  .077 


I  234567890 
1234567890 

1 2345678' •() 
1234567890 


GERMAN  No.  3  with  BOLD  FACE  No.  2  (11A24) 
Size,  .0815 


1234r)(i7S!)() 
1234567890 


CONDENSED  No.  2  with  ANTIQUE  BLACK  No.  3 

(IIA68)  Size,  .0816 


i'>:u5(;7iSoo 

1234567890 


3ENEDICTINE  BOOK  with  BENEDICTINE  (11A94) 
Size,  .0899 


I  234567890 
1234567890 

12345678Q0 
1234567890 


12  Point 

LINING  MEMPHIS  LIGHT  C  with  LINING 
MEMPHIS  BOLD  C  (12A428)  Size,  .0622 

1234567890 
1234567890 


LINING  METROMEDIUM  C  with  LINING 
METROTHIN  C  (12A422)  Size,  .0622 

1234567890 

1234567890 


ERBAR  LIGHT  CONDENSED  with  ERBAR  BOLD 
CONDENSED  (12A392)  Size,  .0692 


1234567890 
1234567890 


GOTHIC  CONDENSED  No.  2  with  CHELTENHAM 
COMPRESSED  (12A188)  Size,  ,0692 


1234567890 
1234567890 


GRANJON  with  GRANJON  BOLD  (I2A3I6) 
Size,   .0692 


1234567890 
1234567890 


LINING  MEMPHIS  LIGHT  B  with  LINING 
MEMPHIS  BOLD  B  n2A426)  Size,  .0692 

1234567890 
1234567890 

LINING  METROMEDIUM  8  with  LINING 
METROTHIN  B  (12A420)  Size,  .0692 

1234567890 

1234567890 

BOLD  FACE  90  with  GOTHIC  31D  (l2Ai86) 
Size:  Figure  1,  .0692;  2  to  0,  .083 
(Special  Alignment.  13  Point  Body) 

I2.?4r)(>7.S<H) 

1234567890 

CENTURY  EXPANDED  with  CENTURY  BOLD 

(12A64)  Size,  .083 


1234567890 
1234567890 


CHELTENHAM  CONDENSED  with  CHELTENHAM 
BOLD  CONDENSED  (12A94)  Size,  .083 


1234567890 
1234567890 


CLASSIC  with  CENTURY  BOLD  {12A58)  Size,  .083 


1234567890 
1234567890 


CLOISTER  WIDE  with  CLOISTER  BOLD  (12A280) 
Size,  .083 


1234567890 
1234567890 


EXCELSIOR  with  BOLD  FACE  No.  2  (12A378) 

Size,  .08? 


1234567890 
1234567890 


EXCELSIOR  with  MEMPHIS  BOLD  (12A488) 
Size,  .083 


1234567890 
1234567890 


GOTHIC  No.  13  with  CHELTENHAM  BOLD 
CONDENSED  n2.*,242)  Size,  .083 


1234567890 

1234567890 


GOTHIC  No.  13  with  DeVINNE  CONDENSED 

(12A102)  Size,  .083 


1234567890 
1234567890 


GOTHIC  No.  29C  with  GOTHIC  No.  30C  (12A210) 
Size;  Figure  1,  .0415;  2  to  0,  .083 
(Special  Alignment.  13  Point  Body) 

1234567890 
1234567890 

(Also  Special  No.  1  Figure  1,  ,083) 

GOTHIC  No.  31D  with  GOTHIC  No.  32D  (12A396) 
Size:  Figure  1,  .0692;  2  to  0,  .083 
(Special  Alignment.  13  Point  Body) 

1234567890 

1234567890 

IONIC  No.  5  with  BOLD  FACE  No.  2  (12A3fe8) 
Size,  .083 


1234567890 
1234567890 

LINING  MEMPHIS  LIGHT  A  with  LINING 
MEMPHIS  BOLD  A  (12A424)  Size,  .083 

1234567890 
12345G7890 

LINING  METROMEDIUM  A  with  LINING 
METROTHIN  A  (12A418)  Size,  .083 

1234567890 

1234567890 

MEMPHIS  LIGHT  AND  BOLD  (12A376)  Size,  .083 

1234567890 
12345B7890 

MEMPHIS  MEDIUM  with  MEMPHIS  BOLD 

1  12. ',466)   Size      08  3 

1234567890 
1234567890 

METROMEDIUM  with  METROTHIN  (12A308) 

1234567890 

1234567890 

(Also  Special  No.  1  Figure  1,  .0692) 


lJm)ttfpr  fractioyis  for  thr  ahovc  fjfjur 


shoiv}!  m  thr  frartiini  srrtion  immediately  JoUowinu 


929 


Two-Letter,  Roman  ivith  Bold—4t  to  24  Point 


LINOTYPE    FIGURES 


13  Point,  continued 

OLD  STYLE  No.  1  with  CHELTENHAM  BOLD 
(12A126)  Size,  .083 


1234567890 

1234567890 

1234567890 
1234567890 


OLD  STYLE  No.  1  with  JENSON  (12A156) 
Size,  .083 


1234567890 

1234567890 

1234567890 
1234567890 


OLD  STYLE  No.  1  with  TITLE  No.  1  (12A84) 
Size,  .083 


1234567890 
1234567890 

1234567890 
1234567890 


OLD  STYLE  No.  1  with  TITLE  No.  2  (12A1I6) 
Size,  .083 


1234567890 
1234567890 

1234567890 
1234567890 


OPTICON  with  BOLD  FACE  No.  2  (12A474) 

Size,  .083 

1234567890 
1234567890 

SCOTCH  with  JENSON  (12A90)  Size,  .083 

1234.)678<)() 
1234567890 

TEXTYPEwith  BOLD  FACE  No.  2  (12A310) 
Size,  .083 

1234567890 
1234567890 

1234567890 ''""^""•'■''"■■°'"' 
1234567890 

DeVINNE  with  ANTIQUE  No.  3  (12AI6)  Size,  .084 

1234567890 
1234567890 

DeVINNE  with  TITLE  No.  1  (12A152)  Size,  .084 

1234567890 
1234567890 

OLD  STYLE  No.  1  with  ANTIQUE  No.  1 
(12A26)  Size,  .084 


1234567890 
1234567890 

1234567890 
1234567890 


GERMAN  No.  3  with  BOLD  FACE  No.  2  (12A164) 
Size,  .089 


1234567800 
1234567890 


RUSSIAN  CONDENSED  No.  2  with  ANTIQUE 
BLACK  No.  2  (I2A66)  Size,  .089 


1234567890 
1234567890 


RUSSIAN  No.  3  LIGHT  and  BOLD  (12A15Q) 
Size,  .089 


1234567890 
1234567890 


RUSSIAN  No.  11  with  ANTIQUE  BLACK  No.  1 

(12A52)  Size,  .089 

I2315(;7R00 
1234567890 

TEXTYPE  with  BOLD  FACE  No.  2  (12A310) 
Size,  .089 

1234567890 
1234567890 '""'^'""^ 

BASKERVILLE  CONDENSED  with  10  Point 
BOLD  FACE  No.  1  (12A148)  Size,  .0899 

1234567890 

13.345678{)() 

CENTURY  EXPANDED  with  10  Point  BOLD 
FACE  No.  1  (12A24)  Size,  .0899 

1234567890 

1234567890     no  Poim  Alignment) 


CENTURY  EXPANDED  with  CHELTENHAM  BOLD 
(12A140)  Size,  .0899 


1234567890 
1234567890 


CHELTENHAM  WIDE  with  CHELTENHAM  BOLD 
(12A88)  Size,  .0899 


1234567890 
1234567890 

ELZEVIR  with  CHELTENHAM  BOLD  a2A56) 
Size,  .0899 

1234567890 
1234567890 
1234567890 
1234567890 

No.  2  with  GOTHIC  No.  3  (12A136)  Size,  .0899 

1234567890 
1234567890 

No.  16  with  CENTURY  BOLD  {12A70)  Size,  .0899 

1234567890 
1234567890 

GOTHIC  No.  5  with  GOTHIC  CONDENSED  No.  1 
(12A30)  Size,  .091 


1234567890 
1234567890 


BENEDICTINE  BOOK  with  BENEDICTINE 

(12A274)  Size,  .0968 

I  234567890 
I  234567890 

1234567890 
1234567890 


BOLD  FACE  No.  9C  with  GOTHIC  No.  31C 

(12A218)  Size:  Figure  1,  .0761;  2  to  0,  .0968 
(Special  Alignment.  13  Point  Body) 

1234567S90 
1234567890 

(Also  Special  No.  1  Figure  1,  .0968) 


DeVINNE  OUTLINE  with  BOLD  FACE  No.  6 

(I2A122)  Size,  .0968 

I1234S67S5'(Q) 


1234567890 


GOTHIC  No.  29B  with  GOTHIC  No.  30B 

(12A212)  Size:  Figure  1,  .0553;  2  to  0,  .0968 
(Special  Alignment.  13  Point  Body) 

1234567890 
1234567890 

(Also  Special  No.  1  Figure  1,  .0968) 


GOTHIC  No.  31C  with  GOTHIC  No.  32C  (12A272) 
Size:  Figure  1,  .0761;  2  to  0,  .0968 
(Special  Alignment.  13  Point  Body) 

1234567890 

1234567890 

(Also  Special  No.  1  Figure  1,  .0968) 

GOTHIC  No.  31C  with  GOTHIC  No.  33C  (12A486) 
Size:  Figure  1,  .0761;  2  to  0,  .0968 
(Special  Alignment.  13  Point  Body) 

1234567890 
1234567890 

GOTHIC  No.  32C  with  GOTHIC  No.  33C  (12A256) 
Size:  Figure  1,  .0761;  2  to  0,  .0968 
(Special  Alignment.  13  Point  Body) 

1234567890 
1234567890 

(Also  Special  No.  1  Figure  1,  .0968) 

GOTHIC  No.  44  with  GOTHIC  No.  42  (12A468) 
Size:  Figure  1,  .083;  2  to  0,  .0968 

1234567890 

1234567890 

GOTHIC  No.  45  with  GOTHIC  No.  43  (12A470) 
Size:  Figure  1,  .083;  2  to  0,  .0968 

1234567890 

1234567890 


LINING  MEMPHIS  LIGHT  with  LINING 
MEMPHIS  BOLD  (12A434)  Size,  .0968 


1234567890 
1234567890 


LINING  METROMEDIUM  with  LINING 
METROTHIN  (12A416)  Size,  .0968 


1234567890 

1234567890 


930 


Where  two  styles  of  figures  are  shown,  old  style  avd  modernized,  specify  which  style  is  desired 


LINOTYPE    FIGURES 


Two-Letter,  Roman  with  Bold— 4:  to  24  Point 


12  Point.  4'oiifiiiii4>d 

METROBLACK  with  METROLITE  (12A302) 
Size,  .0968 

1234567890 

1234567890 

(Also  Special  Wo.  I  Ficjiire  1.  .083) 


BOLD  FACE  No.  9B  with  GOTHIC  No.  31B 

(12A220)  Size:  Figure  1,  .083;  2  to  0,  .1107 
(Special  Alignment.  13  Point  Body) 

1234567890 
1234567890 

(Also  Special  No.  1  Figure  1,  .1107) 

GOTHIC  No.  15  with  BOLD  FACE  No.  4  (12A44) 
Size,  .1107 

1234567890 
12345(>781)0 

GOTHIC  No.  16  with  CHELTENHAM  BOLD 

(12A244)   Size,   ,1107 

1234567890 

1234567890 

GOTHIC  No.  16  with  TITLE  No.  4  (12A104) 

1234567890 

1234567890 

GOTHIC  No.  25  with  GOTHIC  No.  26  (12A168) 
Size,  .1107.  (15  Point  Alignment) 

1234567890 

1 234567890 

GOTHIC  No.  29A  with  GOTHIC  No.  30A  (12A214) 
Size:  Figure  1,  .0553;  2  to  0,  .1107 
(Special  Alignment.  13  Point  Body) 

1234567890 
1234567890 

(Also  Special  No.  1   Figure  1,  .1107) 

GOTHIC  No.  31B  with  GOTHIC  No.  328  (12A270) 
Size:  Figure  1,  .083;  2  to  0,  .1107 
(Special  Alignment.  13  Point  Body) 

1234567890 

1234567890 

(Also  Special  No.  1  Figure  1,  .1107) 

GOTHIC  No.  32B  with  GOTHIC  No.  33B  (12A254) 
Size:  Figure  1,  .083;  2  to  0,  .1107 
(Special  Alignment.  13  Point  Body) 

1234567890 
1234567890 

(Also  Special  No.  1  Figure  1,  .1107) 

GOTHIC  No.  29  with  GOTHIC  No.  30  (12A208) 
Size:  Figure  1,  .0692;  2  to  0,  .1245 
(Special  Alignment.  13  Point  Body) 

1234567890 
1234567890 

(Also  Special  No.  1  Figure  1,  .1245) 

BOLD  FACE  No.  9A  with  GOTHIC  No.  31A 

(12A222)  Size:  Figure  1,  .1107;  2  to  0,  .1383 
(Special  Alignment.  13  Point  Body) 

12345G7890 
1234567890 

(Also  Special  No.  1  Figure  1,  .1383) 


GOTHIC  No.  31A  with  GOTHIC  No.  32A  (12A268) 
Size:  Figure  1,  .1107;  2  to  0,  .1383 
(Special  Alignment.  13  Point  Body) 

1234567890 

1234567890 

(Also  Special  No.  1  Figure  1,  .1383) 

GOTHIC  No.  32A  with  GOTHIC  No.  33A  (12A252) 
Size:  Figure  1,  .1107;  2  to  0,  .1383 
(Special  Alignment.  13  Point  Body) 

1234567890 
1234567890 

(Also  Special  No.  1  Figure  1,  .1383) 

LINING  CARD  GOTHIC  MEDIUM  with  BOLD 
(12A462)  Size:  Figure  1,  .1107;  2  to  0,  .1383 
(Special  Alignment) 

123456789D 
1234567890 

BOLD  FACE  No.  9  with  GOTHJC  No.  31  (12A216) 
Size:  Figure  1,  .1245;  2  to  0,  .166 
(Special  Alignment.  13  Point  Body) 

12345G7S90 
1234567890 

(Also  Special  No.  1  Figure  1,  .166) 

GOTHIC  No.  31  with  GOTHIC  No.  32  (12A266) 
Size:  Figure  1,  .1245;  2  to  0,  .166 
(Special  Alignment.  13  Point  Body) 

1234567890 

1234567890 

(Also  Special  No.  1  Figure  1,  .166) 

GOTHIC  No.  32  with  GOTHIC  No.  33  (12A250) 
Size:  Figure  1,  .1245;  2  to  0,  .166 
(Special  Alignment.  13  Point  Body) 

1234567890 
1234567890 

(Also  Special  No.  1  Figure  1,  .166) 


14  Point 

ERBAR  LIGHT  CONDENSED  with  ERBAR  BOLD 

CONDENSED  (14A210)  Size,  .083 


1234567890 
1234567890 


GOTHIC  CONDENSED  No.  2  with  CHELTENHAM 
COMPRESSED  (14A112)  Size,  .083 


1234567890 
1234567890 


GRANJON  with  GRANJON  BOLD  (14A192) 
Size,  .083 


1234567890 
1234567890 


CENTURY  EXPANDED  with  CENTURY  BOLD 

(14A20)  Size,   .0968 


1234567890 
1234567890 


CHELTENHAM  CONDENSED  with  CHELTENHAM 
BOLD  CONDENSED  (14A42)  Size,  .0968 


1234567890 
1234567890 


CLASSIC  with  CENTURY  BOLD  (14A26) 
Size,  .0968 

1234567890 
1234567890 

CLOISTER  WIDE  with  CLOISTER  BOLD  (14A158) 
Size,  .0968 

1234567890 
1234567890 

DeVINNE  with  ANTIQUE  No.  3  (14A22) 

Size,  .0968 

12345(J789() 
1234567890 

DeVINNE  with  TITLE  No.  1  (14A140)  Size,  .0968 

1234567890 
1234567890 


EXCELSIOR  with  BOLD  FACE  No.  2  (14A214) 
Size,  .0968 


1234567890 
1234567890 


EXCELSIOR  with  MEMPHIS  BOLD  (14A252) 
Size,  .0968 


1234567890 
1234567890 


GERMAN  No.  4  with  BOLD  FACE  No.  2  {14A118) 
Size,  .0968 


|254567sf)() 
t 254567890 


GOTHIC  No.  13  with  CHELTENHAM  BOLD 
CONDENSED  (14.:. 136)  Size,  .0968 


1234567890 

1234567890 

GOTHIC  No.  13  with  DeVINNE  CONDENSED 

(14A48)   Size,   .09o8 

1234567890 

1234567890 

MEMPHIS  LIGHT  with  MEMPHIS  BOLD 
(14A200)  Size,  .0968 

1234567890 
1234567890 

MEMPHIS  MEDIUM  with  MEMPHIS  BOLD 

(  14. '.,240)   Size    .0968 

1234567890 
1234587890 

METROMEDIUM  with  METROTHIN  (14A186) 
Size,  .09dS 

1234567890 

1234567890 

(Also  Special  No.  1  Figure  1,  .083) 


I. i  not  If  )ji-  fractions  for  tft*-  abor*'  fiyurrs  an   sht. 


the  fraction  section  imwcdiatchf  folloivint/ 


931 


Two-Letter,  Roman  with  Bold—4<  to  M  Point 


LINOTYPE   FIGURES 


14  Point,  continued 

No.  36  with  12  Point  BOLD  FACE  No.  4  (14A10) 
Size,  .0968 

1234567890 
1234567890 


OLD  STYLE  No.  1  with  AIMTIQUE  No.  1  (14A24) 
Size,  .0968 


1234567890 
1234567890 

1234567890 
1234567890 


OLD  STYLE  No.  1  with  CHELTENHAM  BOLD 
(14A62)  Size,  .0968 


1234567890 

1234567890 

1234567890 
1234567890 


OLD  STYLE  No.  1  with  JENSON  (14A90) 
Size,  .0968 


1234567890 

1234567890 

1234567890 
1234567890 


OLD  STYLE  No.  1  with  TITLE  No.  2  (14A72) 
Size,  .0968 

1234567890 
1234567890 

1234567890 
1234567890 

TEXTYPE  with  BOLD  FACE  No.  2  (14A-194) 
Size,  .0968 

1234567890 
1234567890 

No.  16  with  CENTURY  BOLD  {14A36)  Sire,  .1037 

1234567890 
1234567890 

BENEDICTINE  BOOK  with  BENEDICTINE 

(14A152)  Size,  .1107 

1234567890 
1234567890 

1234567890 
1234567890 

CENTURY  EXPANDED  with  CHELTENHAM  BOLD 

(14A86)  Size,  .1107 

1234567890 
1234567890 


CHELTENHAM  WIDE  with  CHELTENHAM  BOLD 

(14A40)  Size,  .1107 

1234367890 
1234567890 

DeVINNE  OUTLINE  with  BOLD  FACE  No.  6 

(14A80)  Size,  .1107 

1234567890 
1234567890 

ELZEVIR  with  CHELTENHAM  BOLD  (14A28) 
Size,  .1107 

1234567890 
1234567890 

^  r\  Special  No.  1 

2  0 

GOTHIC  No.  16  with  CHELTENHAM  BOLD 

(14A138)  Size,  .1107 

1234567890 

1234567890 

GOTHIC  No.  16  with  TITLE  No.  4  (14A50) 
Size,  .1107 

1234567890 

1234567890 

GOTHIC  No.  44  with  GOTHIC  No.  42  (14A242) 
Size:  Figure  1,  .0968;  2  to  0,  .1107 

1234567890 

1234567890 

GOTHIC  No.  45  with  GOTHIC  No.  43  (14A244) 
Size:  Figure  1,  .0968;  2  to  0,  .1107 

1234567890 

1234567890 

METROBLACK  with  METROLITE  (14A180) 

Size,  .1107 

1234567890 

1234567890 

(Also  Special  No.  1  Figure  1,  .0968) 

18  Point 

ERBAR  BOLD  CONDENSED  with  ERBAR  LIGHT 
CONDENSED  (18A56)  Size,  .0968 


1234567890 

1234567890 


ERBAR  LIGHT  CONDENSED  with  ERBAR  BOLD 
CONDENSED  (18A4)  Size,  .0968 


1234567890 
1234567890 


MEMPHIS  BOLD  CONDENSED  with 

MEMPHIS  MEDIUM  CONDENSED  (18A68) 
Size,  .0968 


1234567890 

1234567890 


CENTURY  BOLD  with  CENTURY  EXPANDED 

(18A60)  Size,  .1107 
(19  Point  Alignment) 

1234567890 

1234567890 

GOTHIC  No.  13  with  CHELTENHAM  BOLD 

CONDENSED  '18A36)  Size,  .1107 

1234567890 

1234567890 

GOTHIC  No.  16  with  CHELTENHAM  BOLD 

(18A34)  Size,  .1107 
(19  Point  Alignment) 

1234567890 

1234567890 

MEMPHIS  BOLD  with  MEMPHIS  LIGHT  (18A48) 

Size,  .1107 

1234567890 

1234567890 

MEMPHIS  BOLD  with  MEMPHIS  MEDIUM 

(18A64)  Size,  .1107 

1234567890 

1234567890 

MEMPHIS  LIGHT  with  MEMPHIS  BOLD  (I8AI6) 
Size,  .1107 

1234567890 
1234567890 

METROBLACK  No.  2  with  METROLITE  No.  2 

(18A8)  Siz-e,  .1  107 

1234567890 

1234567890 

Special  No.  1 

Size:  Figure  1,  .1245;  2  to  0,  .1522 

1234567890 

1234567890 

METROMEDIUM  No.  2  with  METROTHIN  No.  2 

(18A6)  Size:  Figure  1,  .0968;  2  to  0,  .1107 

1234567890 

1234567890 

METROBLACK  No.  2  with  METROLITE  No.  2 

(18A8)  Size:  Figure  1,  .1245;  2  to  0,  .1522 
Special  No.  1 

1234567890 

1234567890 


Where  two  styles  of  fifiurea  are  shown,  old  style  and  modernized,  specify  which  style  is  desired 


932 


LINOTYPE    PIGURES 


Tivo-Letter,  Roman  with  Bold—i  to  24  Point 


24  Point 

ERBAR  BOLD  CONDENSED  with  ERBAR  LiGHT 
CONDENSED  (24A56)  Size,  .1107 

1234567890 

1234567890 

GOTHIC  No.  13  with  CHELTENHAM  BOLD 
CONDENSED  (24A36) 
Size:  Figure  1,  .1107;  2  to  0,  .1383 

1234567890 

1234567890 

MEIVIPHIS  BOLD  with  (VIEIVIPHIS  LIGHT  (24A48) 
Size:  Fiqui-e  1,  .1107;  2  to  0,  .166 

1234567890 

1234567890 


METROMEDIUM  No.  2  with  METROTHIN  No.  2 
(24A6)  Size:  Figure  1,  .1245;  2  to  0,  .1798 

1234567890 

1234567890 

METROBLACK  No.  2  with  IVIETROLITE  No.  2 

(24A8)  Size:  Fiqure  1,  .1383;  2  to  0,  .1937 

1234567890 

1234567890 

GOTHIC  No.  16  with  CHELTENHAM  BOLD 
(24A34)  Size:  Figure  1,  .1798;  2  to  0,  .2075 
(25  Point  Alignment) 

123456789 

123456789 


OXE-LETTER  DISPLAY,  ROMAIC 
16  to  60  Point 


16  PoinI 

BASKERVILLE  (16A15)  Size,  .1107 
(15  Point  Alignment) 

1234567890 

(Also  Special  No.  1  Figure  1,  .0968) 

1234567890 

BODONI  (16A21)  Size,  .1107 
(15  Point  Alignment) 

1234567890 


ESTIENNE  (16A17) 

Size:  Figure  1,  .0692;  2  to  0,  .1107 
(14  Point  Alignment) 


12  ^45678^ 


18  Point 


IONIC  CONDENSED  (18A287)  Size,  .0761 
(16  Point  Alignment) 


1234567890 


LINO  SCRIPT  (18A271)  Size,  .0761 
(Special  Alignment) 

rZ3Jt567890 

LATIN  CONDENSED  (18A37)  Size,  .077 


1234567890 

DeVINNE  EXTRA  COP 
Size:  Figure  1,  .Of:. 

1234567890 


DeVINNE  EXTRA  CONDENSED  (18A55) 
Size:  Figure  1,  .Of:.2;  2  to  0,  .079 


GOTHIC  No.  14  (18A43)  Size,  .083 

1234567890 

GOTHIC  CONDENSED 

1234567890 

BODONI  BOLD  CONDEN 

(Ih  Poinl  Aliqniiipnt) 

1234567890 

BODONI  BOOK  EXTRA  CO 

Size,  .0968.  (16  Poinl  , 

1234567890 

ENCORE  CONDENSED  (If 

1234567890 

ERBAR  BOLD  CONDENSE 

1234567890 


GOTHIC  CONDENSED  No.  2  (I8AI)  Size,  .0899 


BODONI  BOLD  CONDENSED  (18A283)  Size,  .0968 

(Ih  Poinl  AliqniiiPnt) 


BODONI  BOOK  EXTRA  CONDENSED  (18A227) 
Size,  .0968.  (16  Poinl  Alignment) 


ENCORE  CONDENSED  ( 1SA81)  Size,  .0968 


ERBAR  BOLD  CONDENSED  (18A351)  Size,  .0968 


ERBAR  LIGHT  CONDENSED  I18A353)  Size,  .0968 

1234567890 


ERBAR  MEDIUD/1  CONDENSED  118A391) 
Size,  .O'lf.:-^ 


1234567890 


LINO  TEXT  (18A285)  Size,  .0968 
(16  Point  Alignment) 

1.23-I51t7S!:U1 


CENTURY  BOLD  CONDENSED  (18A57)  Size,  .097 

1234567890 

CHELTENHAM  BOLD  EXTRA  CONDENSED 

(18/-41)  Size,   ,097 

1234567890 

CONDENSED  OUTLINE  (18A75)  Size,  .1037 

1234567890 

CHELTENHAM  BOLD  CONDENSED  (18A59) 

1234567890 

JENSEN  CONDENSED  'ly/.S' 

1234567890 

ANTIQUE  CONDENSED  '18A3 

1234567890 


JENSEN  CONDENSED  'iy/.53)  Size,  .110 


ANTIQUE  CONDENSED  '18A35)  Size,  .1107 


ANTIQUE  No.  1  (18A103)  Size,  .1107 
1234567890 

1234567890 

BENEDICTINE  (I8AIII)  Size,  .1107 
1234567890 

1234567890 

BENEDICTINE  BOOK  (18A225)  Size,  .1107 
1234567890 

1234567890 

BODONI  (I8AIOI)  Size,  .1107 
(16  Point  Alignment) 

1234567890 

BODONI  BOLD  (18Alb5)  Size.  .1107 
( 16  Point  Alignment) 

1234567890 


BODONI  BOOK  (18A125)  Size,  .1107 
lib  Point  Alignment) 

1234567890 

CASLON  BOLD  CONDEWSED  C 

'  19  Point  Aliqnment) 

1234567890 


CASLON  BOLD  CONDENSED  (18A163)  Size,  .1107 

'  19  Point  Alignment) 


CASLON  No.  4  (18A115)  Size,  .1107 

1234567890 


CASLON  OLD  FACE  (18A169)  Size,  .1107 
(16  Point  Alignment) 


1234-567890 
123+567890 

(To  ca5t  on  )t>  Point  Body 

345   7  9 


Special  No.  1 


L)notu}>f  frnrtions  for  thi    tiintrr  fiffurfs  (in-  shinrii  iti  the  frartton  strtiov  iwnwiliatrhf  follntrinfj 


933 


One-Letter  Display , Roman— \Q  to  60  Point 


LINOTYPE    FIGURES 


18  Point,  continued 

CENTURY  BOLD  (18A133)  Size,  .1107 
(19  Point  Alignment) 

1234567890 

(Special  No.  1.  Size,  .1245) 

1234567890 

CENTURY  EXPANDED  (18A123)  Size,  .1107 

1234567890 

CHELTENHAM  BOLD  (18A97)  Size,  .1107 

1234567890 

Special  No.  1.  Size,  .1452 

1234567890 

CHELTENHAM  CONDENSED  (18Aq9)  Size,  .1107 

1 234567890 

CHELTENHAM  MEDIUM  CON! 

Size,  .1107 

1234567890 


CHELTENHAM  MEDIUM  CONDENSED  (18A389) 
Size,  .1107 


CLOISTER  (18A263) 

Figure  1,  .0968;  2  to  0,  .1107 
(16  Point  Alignment) 

1234567890 


CLOISTER  BOLD  (18A243) 

Size:  Figui-e  1,  .0968;  2  to  0,  .1107 
(16  Point  Alignment) 

1234567890 

(Also  Special  No.  1  Figure  1,  .1107) 


DeVINNE  OUTLINE  (18A183) 

Size:  Figure  1,  .0968;  2  to  0,  .1107 


GARAMOND  BOLD  (18A277) 

Size:    Figure  1,  .0968;  2  to  0,  .1107 
(16  Point  Alignment) 

1234567890 

1234567890 

GARAMOND  BOLD  No.  3  (18A401)  Size,  .1107 

(16  Point  Alignment) 

1234567890 

GERMAN  BOLD  FACE  No.  3  (18A105) 

Size,  .1107 


1234567890 

Special  No.  1.  Size,  .1245 

1234567890 


GOTHIC  CONDENSED  No.  1  (18A33)  Size,  .1107 


1234567890 

GOTHIC  No.  13  a8.',65i  Si7p 

1234567890 


1 


(Also  Special  No.  3  Figure  1,  .083) 
Special  No.  4.  Size,  .1107 


GOTHIC  No.  16  (18A179)  Size,  .1107 
(19  Point  Alignment) 


1234567890 

Speu.il  r^o.  1.  Si^K,   .17TS 

1234567890 


1234 

ELZEVIR  N 

1234567890 


ELZEVIR  No.  2  (18A113) 

Size:  Figure  1,  .0692;  2  to  0,  .1107 


ELZEVIR  No.  3  (18A155)  Size,  .1107 

1234567890 

1234567890 

FRENCH  OLD  STYLE  No.  2  (18A63)  Size.  .1107 

1234567890 

GARAMOND  (18A265) 

Size:  Figure  1,  .083;  2  to  0,  .1107 
(16  Point  Alignment) 

1234567890 

(Also  Special  No.  1  Figure  1,  .1107) 

1234567890 

^    Special  No.  1 


GOTHIC  No.  18  (18A71)  Size,  .1107 

1234567890 

GOTHIC  No.  44  (18A395)  Size,  .1107 

1234567890 


GRANJON  (18A301) 

Size:  Figure  1,  .0692;  2  to  0,  .1107 
(16  Point  Alignment) 

1234567890 

1234567890 

HEADING  TEXT  (18A67)  Size,  .1107 

1234567890 

MEMPHIS  BOLD  (18A349)  Size,  .1107 

1234567890 

MEMPHIS  LIGHT  (18A347)  Size,  .1107 

1234567890 

MEMPHIS  MEDIUM  (18A379)  Size,  .11 

1234567890 

METROBLACK  (18A321)  Size,  .1107 

1234567890 

(Special  No.  1) 

Size:  Figure  1,  .1245;  2  to  0,  .1522 

1234567890 


METROLITE  (18A235)  Size,  .1107 


1234567890 

Special  No.  1. 

Size:  Figure  1,  .1245;  2  to  0,  .1522 

1234567890 


METROMEDIUM  (18A257) 

Size:  Figure  1,  .0968;  2  to  0,  .1107 


1234567890 

(Also  Special  No.  2  Figure  1,  .1 
Special  No.  1.  Size,  .1245 

1 234567890 


METROTHIN  (18A259) 

Size:  Figure  1,  .0968;  2  to  0,  .1107 

1234567890 

(Also  Special  No.  2  Figure  1,  .1107) 
Special  No.  1.  Size,  .1245 

1 234567890 

OLD  STYLE  No.  1  (18A79)  Size,  .1107 

1234567890 

OLD  STYLE  No.  7  (18A193)  Size,  .1107 
1234567890 

1234567890 

PABST  EXTRA  BOLD  CONDENSED  (18A327) 
Size,  .1107 

1234567S90 

PABST  OLD  STYLE  CONDENSED  (18A93) 
Size,  .1107 

1234567890 

TITLE  No.  1  (18A199)  Size,  .1107 

1234567890 


TITLE  No.  2  (18A95)  Size,  .1107 

1234567890 

TITLE  No.  5  (18A121)  Size,  .1107 

1234567890 

BENEDICTINE  BOLD  (18A233) 

Size:  Figure  1,  .1107;  2  to  0,  .1245 

1234567890 

1234567890 


CENTURY  BOLD  (18A133)  Size,  .1245 

(19  Point  Alignment) 

1234567890*'"° 

ESTIENNE  (18A355) 

Size:  Figure  1,  .083;  2  to  0,  .1245 
(16  Point  Alignment) 

1274^:67800 


345^7^9' 


Whtre  two  stylis  of  figures  are  shown,  old  style  and  modernized,  specify  which  style  is  desired 


934    . 


LINOTYPE    FIGURES 


One-Letter  Display, Roman— Id  to  60  Point 


18  Point,  coiifiiiM(>(l 

FRANKLIN  OLD  STYLE  (18A177)  Size,  .1245 


I    23456/(890 

1234567890 


GERMAN  BOLD  FACE  No.  3  {18A105)  Size,  .1245 
Special  No.  1 


1234507890 


GOTHIC  CONDENSED  OUTLINE  (18A247) 
Size:  Figure  1,  .0968;  Figure  4,  Size,  .1522; 
Balance,  .1245 
(Special  Alignment) 


4li?§ 

EDIUM  (1BA2'.7 

1 234567890 

/lETROTHIN  (18A259)  Size,  ,12 

1 234567890 


METROMEDIUM  (1BA2'.71  Size,  .1245 

S[)ecial  No.  1 


METROTHIN  (18A259)  Size,  ,1245 

Special  No.  1 


NARCISS  (18A249) 

Size:  Figure  1,  .0968;  2  to  0,  .1245 
(16  Point  Alignment) 

1234567890 

SCOTCH  (18A195) 

Size:  Figure  1,  .0968;  2  to  0,  .1245 
(19  Point  Alignment) 

1234567890 

Figure  1,  .1107;  2  to  0,  .1383 

1234567890 


Figure  1,  .1107;  2  to  0,  .1383 

-)  (\f\  Special  No.  1 


CLEARFACE  BOLD    (18A2i9)  Size,  .1383 
(19  Point  Alignment) 

1234567890 

GOTHIC  No.  39(18A373) 

Size:  Figure  1,  .083;  2  to  0,  ,1383 

1234567890 

GOTHIC  No.  40  (18A375) 

Size:  Figure  1,  ,0968;  2  to  n,  .1  (83 

1234567890 

MEMPHIS  EXTRA  BOLD  (18A357) 
Size:  Figure  I,  ,0968;  2  to  0,  .1383 

1234567890 

POWELL  (18A191)  Size,  ,1383 
(19  Point  Alignment) 

1234567890 


SCOTCH  (18A195) 

Size:  Figure  1,  .1107;  ?  to  0,    J  J8J 

(19  Point  Alignment) 

1234567890*""""' 

CHELTENHAM  BOLD  (18A97)  Size,    145? 
Special  Nn.  1 

1234567890 


GOTHIC  No.  29A  (18A145) 

Size:  Figure  1,  .083;  2  to  0,  .1522 

(Special  Alignment) 

1234567890 

(Also  Special  No.  1  Figure  1,  .1522) 

GOTHIC  No.  30A  (18A147) 

Size:  Figure  1,  .083;  2  to  0,  .1522 

:  Special  Alignment) 


1234567890 

(Also  Special  No.  1  Figure  1,  .1522) 

JENSON  BOLD  (18A117) 

Size:  Figure  1,  .1245;  2  to  0,  .1522 

1234567890 

METROBLACK  (18A321) 

Size:  Figure  1,  .1245;  2  to  0,  .1522 
Special  No.  1 

1234567890 

METROLITE  (18A235) 

Size:  Figure  1,  .1245;  2  to  0,  .1522 
Special  No.  1 

1234567890 


VULCAN  BOLD  (18A311) 

Size:  Figure  1,  .1245;  2  to  0,  .1522 

1254567890 

special  No.  1 

12  O 

CASLON  No.  3  (18A213) 

Size:  Figure  1,  .1383;  2  to  0,  ,166 
(19  Point  Alignment) 

1234567890 

1234567890 

GOTHIC  No.  41  (1SA377) 

Size:  Figure  1,  .1107;  2  to  0,  ,166 


1234567890 

Special  No.  1.  (19  Point  Alignmcnl) 

1234567890 

PABST  EXTRA  BOLD  (18A305)  Size,  .166 

1234567890 

FRANKLIN  GOTHIC  (18A399)  Size,  .1798 
(19  Point  Alignment) 

1234567890 

GOTHIC  No.  16  (18A179)  Size,  .1798 
Special  No.  1   (19  Point  Alignment) 

1234567890 

POSTER  BODONI  (18A309) 

Size:  Fi'iiire  1,  .1383;  2  to  0,  .1798 

1334567890 


BOLD  FACE9A  (18A151) 

Size:  Figure  1,  .1522;  2  to  0,  .1937 
(Special  Alignment) 

1234567890 

(Also  Special  No.  1  Figure  1,  .1937) 


GOTHIC  No.  29  (18A139) 

Size:  Figure  1,  .0968;  2  to  0,  .1937 

(Special  Alignment) 

1234567890 

(Also  Special  No.  1  Figure  1,  .1937) 

GOTHIC  No.  30  (18A141) 

Size:  Figure  1,  .0968;  2  to  0,  .1937 

'  Special  Alignment ) 

1234567890 

(Also  Special  No.  1  Figure  1,  .1937) 

GOTHIC  No.  31A  (18A149) 

Size:  Figure  1,  .0968;  2  to  0,  .1937 
'  Special  Alignment) 

1234567890 

(Also  Special  No.  1  Figure  1,  .1937) 

GOTHIC  No.  38  (18A251) 

Size:  Figure  1,  .1107;  2  to  0,  .1937 
(19  Point  Alignmenl) 

1234567890 

BOLD  FACE  No.  9  (18A157) 

Size:  Figure  1,  .166;  2  to  0,  .2213 
(Special  Alignment) 

123456789 

(Also  Special  No.  1  Figure  1,  .2213) 

GOTHIC  No.  31  (18A143) 

Size:  Figure  1,  .1245;  2  to  0,  .249 
(Special  Alignment) 

12345678 

(Also  Special  No.  1  Figure  1,  249) 


20  Point 

ANTIQUE  EXTRA  CONDENSED  (20A5) 

Size,    ,07i-,! 


RUSSIAN  ANTIQUE  CONDENSED  (20A11) 

Size,  ,089 

1234587890 

GOTHIC  CONDENSED  Nc 

(Special  Alignment) 

1234561890 

CONDENSED  TITLE  No.  1  (2 

1234567890 


GOTHIC  CONDENSED  No.  3  (20A27)  Size,  .105 

(Special  Alignment) 


CONDENSED  TITLE  No.  1  (20A3)  Size,  .110 


CHELTENHAM  (20A9)  Size,  .1107 

1 234567890 

Special  No.  1.  Size,  .1383 

1234567890 


GOTHIC  No,  5  (20, M5)  Si,-p,  .1107 

1234567890 

CHELTENHAM  (:0A9)  Size,  .1383 
Special  No-  1 

1234567890 


l.iniiliiiii  JKiiliiui^  U>i  fit,   nhorc  hiliiirn  an   shiiivn  in  thr  friirluiii  mctidi:  imniftliiililii  f<illiiiriii(i 


935 


One-Letter  Display , Roman— \Q  to  60  Point 


LINOTYPE    FIGURES 


21  Point 

LATIN  CONDENSED  (2lAl)  Size,  .0968 

1234867890 

GRANJON  (21A19) 

Size:  Figure  1,  .083;  2  to  0,  .::07 
(18  Point  Alignment) 

1234567890 
1234567890 

Special  No.  1.  Size,  .1245 
234567890 


BODONI  (21A13)  Size,  .1245 
(18  Point  Alignment) 

1234567890 

BODONI  BOLD  (21A15)  Size,  .12' 
(18  Point  Alignment) 

1234567890 


GRANJON  (21A19) 

Size:  Figure  1,  .083;  Special  No.  1,  2  to  0,  .1245 
(18  Point  Alignment) 

1234567890 

CASLON  OLD  FACE  (2lA3)  Size,  .1383 
(18  Point  Alignment) 

1234567890 
1^34567890 

Special  No.  1  (Casts  on  18  Point  Body) 

345   7   9 

NARCISS  (21A7) 

Size:  Figure  1,  .1107;  2  to  0,  .1383 
(18  Point  Alignment) 

1234567890 

VULCAN  BOLD  (21A21) 

Size:  Figure  1,  .1383;  2  to  0,  .166 

1234567890 

Special  No.  1 

12  O 

34  Point 

GOTHIC  CONDENSED  No.  3  (24A59)  Size,  .0968 
(25  Point  Alignment) 

12345BI890 

IONIC  CONDENSED  (24A2 
(22  Point  Alignment) 

1234567890 

DeVINNE  EXTRA  CONDEN 

Size:  Figure  1,  .076;  2  t 

1234567890 


IONIC  CONDENSED  (24A243)  Size,  .0968 
(22  Point  Alignment) 


DeVINNE  EXTRA  CONDENSED  (24A27) 
Size:  Figure  1,  .076;  2  to  0,  .104 


BODONI  BOLD  CONDENSED  (24A241)  Size,  .1107 
(22  Point  Alignment) 


BODONI  CONDENSED  (24A113)  Size,  .1107 
(22  Point  Alignment) 


GOTHIC  CONDENSED  No.  2  (24A21)  Size,  .110 

1234567890 

BODONI  BOLD  CONDENSED  (: 

(22  Point  Alignment) 

1234567890 

BODONI  BOOK  (24A115)  Size, 
(22  Point  Alignment) 

1234567890 

BODONI  CONDENSED  (24A11 
(22  Point  Alignment) 

1234567890 

CAPTION  (24A23)  Size,  .1107 
(Special  Alignment) 

1234367890 

CASLON  BOLD  EXTRA  CONDENSED  (24A297) 
Size,  .1107 
(25  Point  Alignment) 

1234567890 

:entury  bold  condensed 

1234567890 

Special  No.  1.  Size,  .1245 

1234567890 

CHELTENHAM  BOLD  EXTRA  CONI 

(24A29)  Size,  .1107 

1234567890 

Special  No.  1.  Size,  .125 

1234567890 

HELTENHAM  CONDENSED  (a 

1234567890 

Special  No.  1.  Size,  .166 

1 234567890 

CHELTENHAM  MEDIUM  CONDENSED 

(24A331)  Size,  .1107 

1234567890 

:ONDENSEi 

1234 

ENCORE  CO 

1234567890 

;RBAR  BOLD  CONDENSED  (2- 

1234567890 


CENTURY  BOLD  CONDENSED  (24A57)  Size,  .1107 


CHELTENHAM  CONDENSED  (24A55)  Size,  .1107 


CONDENSED  OUTLINE  (24A99)  Size,  .1107 

9M\ 


ENCORE  CONDENSED  (24A61)  Size,  .1107 


ERBAR  BOLD  CONDENSED  (24A295)  Size,  .1107 


ERBAR  LIGHT  CONDENSED  (24A299)  Size,  .1107 

1234567890 

:RBAR  MEDIUM  CONDENSED 
Size,  .1107 

1234567890 

SOTHIC  No.  18  (24A53)  Size, 

1234567890 

ROMAN  BOLD  CONDENSED  (2 

1234567890 

Special  No.  1. 

Size:  Figure  1,  .1107;  2  to  0,  .166 

1234567890 

LATIN  CONDENSED  (24A25)  Size,  .111 

1234567890 


ERBAR  MEDIUM  CONDENSED  (24A353) 
Size,  .1107 


ROMAN  BOLD  CONDENSED  (24A47)  Size,  .1107 


CENTURY  BOLD  CONDENSED  (24A57) 
Size,  .1245 
Special  No.  1 

1234567890 

JENSON  BOLD  CONDENSED  (24^ 

12345^7890 


JENSON  BOLD  CONDENSED  (24A87)  Size,  .1245 


CHELTENHAM  BOLD  EXTRA  CONDENSED 
(24A29)  Size,  .125 
Special  No.  1 

1234567890 

CHELTENHAM  BOLD  CONDENSED  (24A12: 
Size,  .1383 

1234567890 

CLOISTER  (24A223) 

Size:  Figure  1,  .1107;  2  to  0,  .1383 
(22  Point  Alignment) 

1234567890 

DeVINNE  CONDENSED  (24A157) 
Size:  Figure  1,  .1107;  2  to  0,  .1383 

1234567890 

GOTHIC  No.  13  (24A51) 

Size:  Figure  1,  .1107;  2  to  0,  .1383 

1234567890 

(Also  Special  No.  5  Figure  1,  .1383) 
ANTIQUE  No.  1  (24A135)  Size,  .1522 

1234567890 


^Vhere  two  styles  of  figures  are  shoivn,  old  style  and  modernized,  speeify  tehieh  style  is  desired 


936 


LINOTYPE    FIGURES 


One-Letter  Display , Roman— \Q  to  60  Point 


34  Point,  i*oii(iiiif<>(l 

BODOIMI  (24A73)  Size,  .1522 
(22  Point  Alignment) 

1234567890 

CENTURY  EXPANDED  (24A1:)7)  Size,  .1522 

1234567890 

CLOISTER  BOLD  (24A207) 

Size:  Figure  1,  .1245;  2  to  0,  .1522 
(22  Point  Alignment) 

1234567890 

(Also  Special  No.  1  Figure  1,  .1522) 

GARAMOND  BOLD  No.  3  (24A339) 
Size:  Figure  1,  .1107;  2  to  0,  .1522 
(22  Point  Alignment) 

1234567890 

PABST  EXTRA  BOLD  CONDENSED  (24A27q) 
Size,  .1522 

1234567890 

BENEDICTINE  (24Al7q) 

Size:  Figure  1,  .138J;  2  to  0,  .It.o 

1234567890 

1234567890 

BENEDICTINE  BOLD  (24A193) 
Size:  Figure  1,  .1383;  2  to  0,  .166 

1234567890 

1234567890 

BENEDICTINE  BOOK  (24A185) 
Size:  Figure  1,  .1383;  2  to  0,  .166 

1234567890 

1234567890 

BODONI  BOLD  (24A121)  Size,  .166 
(22  Point  Alignment) 

1234567890 

CASLON  BOLD  CONDENSED  (24A11-' 
Size:  Figure  1,  .1245;  2  to  0,  .Ibo 

1234567890 

CASLON  OLD  FACE  (24A127)  Size,  .166 
(22  Point  Alignment) 

1234567890 
1234567890 

Special  No.   I   lC:ir,ti  on  21  Point  Body) 

345    7   9 


CENTURY  BOLD  (24A107)  Size,  .166 
(25  Point  Alignment) 

1234567890 

CHELTENHAM  I..'4/.IO])  biL'c,  .li,u 

1234567890 

CHELTENHAM  CONDENSED  I24A55)  Size,  .166 
Special  No.  1 

1 234567890 

CLEARFACE  BOLD  (24A199)  Size,  .166 
(25  Point  Alignment) 

1234567890 

ELZEVIR  No.  2  (24A89) 

Size:  Figure  1,    083;  2  to  0,  .166 

1234567800 

ELZEVIR  No.  3  (24A133)  Size,  ,166 

1234567890 

1234567890 


GARAMOND  (24A227) 

Size:  Figure  1,  .1245;  2  to  0,  .166 
(22  Point  Alignment) 

1234567890 

1234567890 


Special  No.  1 


5 

GARAMOND  BOLD  (24A235) 

Size:  Figure  1,  .1383;  2  to  0,  .166 
(22  Point  Alignment) 

1234567890 

1234567890 

GRANJON  (24A321) 

Size     Figure  1,  .0968;  2  to  0,  .166 
(22  Point  Alignment) 

1234567890 

1234567890 

MEMPHIS  BOLD  (24A303) 

Size:  Figure  1,  .1107;  2  to  0,  .166 

1234567890 

MEMPHIS  LIGHT  (24A301) 

Size:  Figure  1,  .1107-  2  to  0    .166 

1234567890 


MEMPHIS  MEDIUM  (24A349) 

Size:  Figure  1,  .1107;  2  to  0,  .166 

1234567890 

METROMEDIUM  (24A205) 

Size:  Figure  1,  .1107;  2  to  0,  .166 

1234567890 

lAI'.o  Special  No.  1  Figure  1,  ,166) 

METROTHIN  (24A275) 

Size:  Figure  1,  .083;  2  to  0,  .166 

1234567890 

(Also  Special  No.  1  Figure  1,  .166) 

NARCISS  (24A211) 

Size:  Figure  1,  .1245;  2  to  0,  .166 
(22  Point  Alignment) 

1234567890 

OLD  STYLE  No.  7  (?4A7q)  Size,  .166 

1234567890 

ROMAN  BOLD  CONDENSED  (24A47) 
Size:  Figure  1,  .1107;  2  to  0,  .166 

Special  No.  1 

1234567890 

SCOTCH  (24A171) 

Size:  Figure  1,  .1383;  2  to  0,  .166 
(25  Point  Alignment) 

1234567890 

(Also  Special  No.  1  Figure  1,  .166) 
TITLE  No.  5  (24A93)  Size,  .166 

1234567890 

CHELTENHAM  BOLD  (24A75)  Size,  .1798 

1234567890 

GOTHIC  No.  39  (24A315) 

Size:  Figure  1,  .1107;  2  to  0,  .1798 

1234567890 

GOTHIC  No.  40  (24A317) 

Size:  Figure  1,  .1107;  2  to  0    ,1798 

1234567890 

DeVINNE  OUTLINE  i24A141)  Size,  .1937 

1234567890 

JENSON  BOLD  (24A183) 

Size:  Figure  1    .166-  2  to   0    .1917 

J234567890 


l.iiialiu"   fnirlioiin  In,  III.   „hi,n    li<,ii,,s  uii   shown  in  III,   frurtii,ii  xirlion  Ini  midnllilu  folloii-inii 


937 


One-Letter  Display , Roman— IQ  to  60  Point 


LINOTYPE   FIGURES 


24  Point,  continued 

MEMPHIS  EXTRA  BOLD  (24A333) 
Size:  Figure  1,  .1383;  2  to  0,  .1937 

1234567890 

METROBLACK  (24A267) 

Size:  Figure  1,  .1245;  2  to  0,  .1937 

1234567890 

METROLITE  (24A269) 

Size:  Figure  1,  .1245;  2  to  0,  .1937 

1234567890 

POWELL  (24A153)  Size,  .1937 
(25  Point  Alignment) 

123456789 

TITLE  No.  2  (24A143)  Size,  .1937 

1234567890 


VULCAN  BOLD  (24A261) 

Size:  Figure  1,  .166;  2  to  0,  .1937 

1234567890 

Special  No.  1 

12  o 

CASLON  No.  3  (24A175) 

Size:  Figure  1,  .1798;  2  to  0,  .2075 

123456789 

123456789 

FRANKLIN  GOTHIC  (24A351)  Size,  .2075 

123456789 

GOTHIC  No.  16  (24A139)  Size,  .2075 
(25  Point  Alignment) 

123456789 

Special  No.  4.  Size,  .2213 

12345678 


PABST  EXTRA  BOLD  (24A259)  Size,  .2213 

12345678 

GOTHIC  No.  38  (24A215) 

Size:  Figure  1,  .1245;  2  to  0,  .249 

12345678 


CHELTENHAM  BOLD  EXTRA  CONDENSED 

(30A7)  Size,  .1107 

1234567890 

Special  No.  1.  Size,  .14r, 

1234567890 


POSTER  BODONI  (24A257) 

Size:  Figure  1,  .1937;  2  to  0,  .249 

1S345678  wm 


27  Point 

BODONI  BOLD  (27A1)  Size,  .1937 
(26  Point  Alignment) 

1234567890 


38  Point 

GOTHIC  No.  14  (28A1)  Size,  .0968 


GERMAN  CONDENSED  (30A13) 

Size:  Figure  1,  .0795;  2  to  0,  .1107 


GOTHIC  CONDENSED  No.  3  (28A5)  Size,  .100 


GOTHIC  No.  41  (24A319) 

Size:  Figure  1,  .1383;  2  to  0,  .2075 

123456789 

Special  No.  1 

(25  Point  Alignment) 

123456789 

GOTHIC  No.  16  (24A139)  Size,  .2213 
Special  No.  4.  (25  Point  Alignment) 

12345678 


ERBAR  BOLD  CONDENSED  (28A19)  Size,  .1107 

1234567890 

ERBAR  LIGHT  CONDENSED  (28A21)  Size,  .1107 

1234567890 

ERBAR  MEDIUM  CONDENSED  {28A23) 
Size,  .1107 

1234567890 

r 

30  Point 

GOTHIC  CONDENSED  No.  3  (30A1)  Size,  .105 


CASLON  BOLD  EXTRA  CONDENSED  (30A219) 
Size,  .1107 

1234567890 


CENTURY  BOLD  EXTRA  CONDENSED  (30A75) 
Size,  .1107 


GOTHIC  CONDENSED  No.  3B  (30A273) 

Size,  .1107 


GOTHIC  CONDENSED  No.  4  (30A181)  Size,  .1107 


IONIC  CONDENSED  (30A185)  Size,  .1107 
(28  Point  Alignment) 

1234567890 


LATIN  COMPRESSED  (30A19)  Size,  .1107 


LATIN  EXTRA  CONDENSED  (30A127) 
Size,  .1107 


PROVINCIAL  (30A57)  Size,  .1107 


CAPTION  (30A5)  Size,  .112 

1234567890 

Special  No.  1.  Size,    1  23 

1234567890 

GOTHIC  CONDENSED  No.  2  (30A3)  Size 

1234567890 

Special  No.  1.  Size,  .152 

1234567890 

Special  No.  2.  Size,  .1452 

1234567890 


Where  two  styles  of  figures  are  shown,  old  style  and  modernized,  specify  whiclt  style  is  desired 


938 


^       LINOTYPE    FIGURES 


One-Letter  Display ,  Roman— W  to  60  Point 


30  Point,  eoiif  iiiiK'd 

CAPTION  (30A5)  Size,  .123 
Special  No.  1 

1234567890 

GOTHIC  CONDENSED  No.  2  (30A3)  Size,  .1452 
Special  No.  2 

1234567890 

CHELTENHAM  BOLD  EXTRA  CONDENSED 

(30A7)  Size,  .146 
Special  No.  1 

1234567890 

GOTHIC  CONDENSED  No.  2  (30A3)  Size,  .152 
Special  No.  1 

1234567890 

LATIN  CONDENSED  (30A9)  Size,  .152 

1234567890 

BODONI  BOLD  CONDENSED  (30A183)  Size,  .166 
(28  Point  Alignment) 

1234567890 

BODONI  CONDENSED  (30A15J)  Size,  .166 
(28  Point  Alignment) 

1234567890 

CHELTENHAM  BOLD  CONDENSED  (  ?0A71) 
Size,  .166 

1234567890 

CLOISTER  (30A161) 
Size:  Figure  1,  .1383;  2  to  0,  .166 
(28  Point  Alignment) 

1234567890 

GOTHIC  No.  13  (30A59) 

Size:  Figure  1,  .1383;  2  to  0,  .166 

1234567890 

BODONI  (30A29)  Size,  .1798 
(28  Point  Alignment) 

1234567890 


CHELTENHAM  MEDIUM  CONDENSED  (30A253) 
Size:  Figure  1,  .1383;  2  to  0,  .1798 

1234567890 

CONDENSED  OUTLINE  (30A53)  Size,  .1798 

123456T890 

DeVINNE  CONDENSED  (30A83)  Size,  .1798 

1234567890 


NARCISS  (30A159) 

Size:  Figure  1,  .1383;  2  to  0,  .1798 
(28  Point  Alignment) 

12345678 


BODONI  BOOK  (30A109) 

Size:  Figure  1,  .166;  2  to  0,  .1937 
(28  Point  Alignment) 

1234567890 

CHELTENHAM  (30A55)  Size,  .1937 

1 234367890 

CLOISTER  BOLD  (30A155) 

Size:  Figure  1,  .1522;  2  to  0,  .1937 
(28  Point  Alignment) 

1234567890 

GARAMOND  (30A165) 

Size:  Figure  1,  .166;  2  to  0,  .1937 
(28  Point  Alignment) 

1234567890 

1234567890 

GARAMOND  BOLD  (30A173) 

Size:  Figure  1,  .166;  2  to  0,  .1937 
(28  Point  Alignment) 

1234567890 

1234567890 

GARAMOND  BOLD  No.  3  (30A261) 
Size:  Figure  1,  .1383;  2  to  0,  .  1937 
(28  Point  Alignment) 

1234567890 


HOWLAND  (30A85)  Size,  .1937 
(32  Point  Alignment) 

123456T890 

MEMPHIS  BOLD  (30A225) 

Size:  Figure  1,  .1245;  2  to  0,  .1937 

1234567890 

MEMPHIS  LIGHT  (30A223) 

Size:  Figure  1,  .1245;  2  to  0,  .1937 

1234567890 

MEMPHIS  MEDIUM  (30A271) 

Size:  Figure  1,  .1245;  2  to  0,  .1937 

1234567890 

PABST  EXTRA  BOLD  CONDENSED  (30A207) 
Size,  .1937 

1234567S90 

GRANJON  (30A245) 

Size:  Figure  1,  .111;  2  to  0,  .207 
(28  Point  Alignment) 

123456789 

123456789 

BENEDICTINE  (30A119) 

Size:  Figure  1,  .166;  2  to   0,  .2075 

123456789 

123456789 

BENEDICTINE  BOLD  (30A139) 

Size:  Figure  1,  .1798;  2  to  0,  .2075 

123456789 

123456789 

BENEDICTINE  BOOK  (30A131) 
Size:  Figure  1,  .166;  2  to  0,  .2075 

123456789 

123456789 


Linittui'*'  fructunis  for  thr  ahovt   fi  tin  fin  an-  shtuvn  in  the  i  r  art  tun  met  ion  immt'diattlu  foUutviut; 


939 


One-Letter  Display , Roman— \Q  to  60  Point 


LINOTYPE    FIGURES 


30  Point,  continued 

BODONI  BOLD  (30A69)  Size,  .2075 
(28  Point  Alignment) 

1234567890 

CASLON  BOLD  CONDENSED  (30A67)  Size:  Figure  1,  .1522;  2  to  0, 

1234567890 

CASLON  OLD  FACE  (30A129)  Size,  .2075 
(28  Point  Alignment) 

1234567890 

1234567890 

CENTURY  BOLD  (30A89)  Size,  .2075 

1234567890 

CHELTENHAM  BOLD  (30A31)  Size,  .2075 

1234567890 

CLEARFACE  BOLD  (30A145)  Size,  .2075 

1234567890 

ELZEVIR  No.  2  (30A41)  Size:  Figure  1,  .0968;  2  to  0,  .2075 

1234567890 

IVIETROMEDIUM  (30A203)  Size:  Figure  1,  .1245;  2  to  0,  .2075 

1234567890 

(Also  Special  No.  1  Figure  1,  .2075) 
METROTHIN  (30A205)  Size:  Figure  1,  ,0968;  2  to  0,  .2075 

1234567890      ■ 

(Also  Special  No.  1  Figure  1,  .2075) 
SCOTCH  (30A107)  Size:  Figure  1,  .1798;  2  to  0,  .2075 

1234567890 

(Also  Special  No.  1  Figure  1,  .2075) 
TITLE  No.  5  (30A47)  Size,  .2075 

1234567890 

DeVINNE  OUTLINE  (30A269)  Size:  Figure  1,  .1937;  2  to  0,  .2213 


1234567^ 


GOTHIC  No.  39  (30A239)  Size:  Figure  1,  .1383;  2  to  0,  .2213 

1234567890 

GOTHIC  No.  40  (30A241)  Size:  Figure  1,  .1383;  2  to  0,  .2213 

1234567890 

MEMPHIS  EXTRA  BOLD  (30A277)  Size:  Figure  1,  166;  2  to  0,  .2213 

1234567890 

CASLON  No.  3  (30A113)  Size:  Figure  1,  .2213;  2  to  0,  .249 

1234567890 

1234567890 


GOTHIC  No.  16  (30A93)  Size,  .249 
Special  No.  1 


1234567890 

GOTHIC  No.  41  (30A243)  Size:  Figure  1,  .1729;  2  to  0,  .249 

1234567890 

JENSON  BOLD  (30A137)  Size:  Figure  1,  .2213;  2  to  0,  .249 

(32  Point  Alignment) 

J234567890 

METROBLACK  (30A193)  Size:  Figure  1,  .166;  2  to  0,  .249 

1234567890 

METROLITE  (30A197)  Size:  Figure  1,  .166;  2  to  0,  .249 

1234567890 

GOTHIC  No.  16  (30A93)  Size,  .2628 

1234567890 

Special  No.  1.  Size,  .249 

1234567890 

PABST  EXTRA  BOLD  (30A201)  Size,  .2767 

1234567890 

POSTER  BODONI  (30A79)  Size:  Figure  1,  .2213;  2  to  0,  .2767 

1334567890 


Where  two  styles  of  figures  are  shown,  old  style  and  modernized,  specify  which  style  is  desired 


940 


„         LINOTYPE    FIGURES 


One-Letter  Display , Roman— \iS  to  (U)  Point 


34  Point 

GOTHIC  No.  14  (34Al)  Size,  .110 


GOTHIC  CONDENSED  No.  3  OfaAl)  Size,  .1107 


GOTHIC  CONDENSED  No.  3  (34A3)  Size,  ,1107 


Special  Mo.  1.  Size,  .120 


GOTHIC  CONDENSED  No.  3  (34A3)  Size,  .120 
Special  No.  1 


ERBAR  LIGHT  CONDENSED  (34A13)  Size,  .1245 

1234567890 

ERBAR  MEDIUM  CONDENSED  (34A15) 
Size,  .1522 

1234567890 

ERBAR  BOLD  CONDENSED  (34A11)  Size,  .1798 

1234567890 


36  Point 

CHELTENHAM  BOLD  EXTRA  CONDENSED 

{36A45)  Size,  .1107 


Special  No.  2.  Size,  .166 


1234567890 


GOTHIC  CONDENSED  No.  2  (36A23)  Size,  .1107 


Special  No.  1 

Size:  Figure  1,  .1314;  2  to  0,  .1591 

1234567890 


2 


Special  Wo.  1.  Size,  .1349 


PTION  l3f,A5)  Size,  ,112 


Special  No.  1.  Size,  .150 


mmm 


GOTHIC  No.  14  (36A3)  Size,  .1245 


GOTHIC  No.  13  (36A61) 
GOTHIC  CONDENSED  No.  3  (36A1)  Size,  .1349  Size:  Figure  1,  .166;  2  to  0,  .1937 


PROVINCIAL  (36A47)  Size,  .166 

1234567890 

BODONI  BOLD  CONDENSED  (36A145)  Size,  .1937 

(34   Puint   AliqilniMiill 

1234567890 

CHELTENHAM  BOLD  CONDENSED  (36A73) 
Size,  .1937 

1234567890 

CLOISTER  (36A91)  Size: 

Figure  1,  .166;  2  to  0,  .1937 
{  34  Point  Alignment) 

1234567890 


special  No.  1 


IONIC  CONDENSED  (36A99)  Size,  .1383 
(34  Point  Alignment) 

1234567890 

CAPTION  (36A5)  Size,  .150 
Special  No.  1 

I2345678W 

LATIN  CONDENSED  (36A85)  Size,  .1522 

123M890 

GOTHIC  CONDENSED  No.  2  {36A23) 
Size:  Figure  1,  .1314;  2  to  0,  .1591 
Special  No.  1 

1234567890 

CHELTENHAM  BOLD  EXTRA  CONDENSED 

(36A45)   Size,   .166 
Special  No.  2 

1234567890 


1234567890 

BODONI  (36A17)  Size,  .2213 
(34  Point  Alignment) 

12345678 

CLOISTER  BOLD  (36A137) 

Size:  Figure  1,  .1798;  2  to  0,  .2351 
(34  Point  Alignment) 

12345678 

MEMPHIS  BOLD  (36A129) 

Size:  Figure  1,  ,1522;  2  to  0,  .2351 

12345678 

MEMPHIS  LIGHT  (36A127) 

Size:  Figure  1,  .1522;  2  to  0,  .2351 

12345678 


NARCISS  (36A89) 

Size:  Figure  1,  .166;  2  to  0,  .2351 


(34  Point  Alignment) 


12345678 


l.iiioliii"   iKictionn  forllii-  ahon   iuiims  iiii   sliiiicii  in  l)u   liiuliint  xrrliini  imtinitidti  lii  ((illuiriny 


941 


One-Letter  Display,  Ro7nan—W  to  60  Point 


LINOTYPE    FIGURES 


36  Point,  continued 

PABST  EXTRA  BOLD  CONDENSED  (36A125)  Size,  .2351 

1234567890 

Special  No.  1  (Casts  on  30  Point  Body) 

345  7  9 

BENEDICTINE  (36A79)  Size:  Figure  1,  .1937;  2  to  0,  .249 

1234567890 

1234567890 

BENEDICTINE  BOLD  (36A87)  Size:  Figure  1,  .2075;  2  to  0,  .249 

1234567890 

1234567890 

BENEDICTINE  BOOK  (36A83)  Size:  Figure  1,  .1937;  2  to  0,  .249 

1234567890 

1234567890 


BODONI  BOLD  (36A65)  Size,  .249 
(34  Point  Alignment) 


1234567890 


CASLON  (36A147)  Size,  .249 
(34  Point  Alignment) 


1234567890 

CASLON  BOLD  CONDENSED  (36A143)  Size:  Figure  1,  .1798;  2  to  0,  .249 

1234567890 


CASLON  OLD  FACE  (36A81)  Size,  .249 
(34  Point  Alignment) 


1234567890 

1234567890 


CENTURY  BOLD  (36A55)  Size,  .249 


1234567890 


CHELTENHAM  (36A43)  Size,  .249 


1234567890 


CHELTENHAM  BOLD  (36A33)  Size,  .249 


1234567890 


Special  No.  1.  Size,  .2629 


1 234567890 

ELZEVIR  No.  2  (36A31)  Size:  Figure  1,  .1107;  2  to  0,  .249 

1234567890 

DeVINNE  OUTLINE  (36A159)  Size:  Figure  1,  .2213;  2  to  0,  .249 

1234567^ 

GARAMOND  (36A93)  Size:  Figure  1,  .1937;  2  to  0,  .249 
(34  Point  Alignment) 

1234567890 

1234567890 

GARAMOND  BOLD  (36A97)  Size:  Figure  1,  .1937;  2  to  0,  .249 
(34  Point  Alignment) 

1234567890 

1234567890 


GOTHIC  No.  16  (36A59)  Size,  .249 
Special  No.  1 


1234567890 

GRANJON  (36A638)  Size:  Figure  1,  .1245;  2  to  0,  .249 

1234567890 


Where  two  styles  oj figures  are  shown,  old  style  and  modernized,  specify  ivhich  style  is  desired 


942 


LINOTYPE    FIGURES 


One-Letter  Display, Roman— \()  to  00  Point 


36  Point,  eontinued 


METROMEDIUM  (36A109)  Size:  Figure  1,  .1522;  2  to  0,  .249 

1234567890 


(Also  Special  No.  1  Figure  1,  .?19) 


METROTHIN  ObAlll)  Size:  Figure  1,  .1245;  2  to  0,  .249 

1234567890 


(Also  Special  No.  1  Figure  1,  .249) 


TITLE  No.  5  (36A41)  Size,  .249 


1234567890 


CHELTENHAM  BOLD  (36A33)  Size,  .2629 
Special  No.  1 


1 234567890 

IVIETROBLACK  (36A103)  Size:  Figure  1,  .1937;  2  to  0,  .2906 

1234567890 

METROLITE  (36A:05)  Size:  Figure  1,  .1937;  2  to  0,  .2906 

1234567890 

POSTER  BODONI  {36A123)  Size;  Figure  1,  .249;  2  to  0,  .3044 

1234567890 


GOTHIC  No.  16  (36A59)  Size,  .315 


123456789 

Special  No.  1.  Size,  .249 

1234567890 


IONIC  EXTRA  CONDENSED  (42A35)  Size,  .1383 
(Casts  on  36  Point  Body) 


1 


GOTHIC  No.  14  (42A1)  Size,  .154 
(Casts  on  36  Point  Body) 


CAPTION  (42A23)  Size,  .166 
(Casts  on  36  Point  Body) 


CHELTENHAM  BOLD  EXTRA  CONDENSED  (42A21)  Size,  .166 
(Casts  on  36  Point  Body) 

1234567890 

ERBAR  LIGHT  CONDENSED  (42A47)  Size:  Figure  1,  .166;  2  to  0,  .1937 

(Casts  on  36  Point  Body) 

1234567890 

GOTHIC  CONDENSED  No.  2  (42A27)  Size:  Figure  1,  .1522;  2  to  0,  .1937 

(Casts  on  36  Point  Body) 

1234567890 


ERBAR  MEDIUM  CONDENSED  (42A59) 
Size:  Figure  1,  .1798;  2  to  0,  .2075 
(Casts  on  36  Point  Body) 


42  Point 


GOTHIC 

(Cast: 


CONDENSED  No.  4  (42A25)  Size,  .13S3 

,  on  3f,  Point  Body) 


1 


1234567890 

ERBAR  BOLD  CONDENSED  (42A49)  Size:  Figure  1,  .2076;  2  to  0,  .2213 
(Casts  on  36  Point  Body) 

1234567890 


BODONI  BOLD  (42A57)  Size,  .2906 
(Casts  on  36  Point  Body) 


1234567890 


l.ituttiifH-  fracti<ui»  for  tlir  (ihovr  fufurt's  orr  shown  in  the  f ruction  s4rtion  luinu  dmtriy  joUiUving 


943 


One-Letter  Display , Roman— \Q  to  60  Point 


LINOTYPE   FIGURES 


48  Point 


GOTHIC  CONDENSED  No.  3  (48A3)  Size,  .1798 

(Casts  on  45  Point  Body) 


1 


GOTHIC  No.  14  (48A1)  Size:  Figure  1,  .0968;  2  to  0,  .1798 
(Casts  on  45  Point  Body) 


Special  No.  1.  (Casts  on  45  Point  Body) 


] 


CHELTENHAM  BOLD  EXTRA  CONDENSED  (48A9)  Size,  .2075 

(Casts  on  45  Point  Body) 

1234567890 

ERBAR  LIGHT  CONDENSED  (48A17)  Size:  Figure  1,  .1937;  2  to  0,  .2213 

(Casts  on  45  Point  Body) 

1234567890 

ERBAR  BOLD  CONDENSED  (48A15)  Size:  Figure  1,  .2351;  2  to  0,  .249 

(Casts  on  45  Point  Body) 

1234567890 

ERBAR  BOLD  CONDENSED  No.  1  (48A19)  Size:  Figure  1,  .2351;  2  to  0,  .249 

(Casts  on  36  Point  Body) 

1234567890 

PABST  EXTRA  BOLD  CONDENSED  (48A11)  Size,  .3044 
(Casts  on  45  Point  Body) 

1234567S90 

GRANJON  (48A687)  Size:  Figure  1,  .2765;  2  to  0,  .332 
(Casts  on  36  Point  Body) 

123456789 


54  Point 


GOTHIC  No.  14  (54A1)  Size:  Figure  1,  .0968;  2  to  0,  .1798 

(Casts  on  45  Point  Body) 


1 

ERBAR  LIGHT  CONDENSED  (54A3)  Size:  Figure  1,  .2213;  2  to  0,  .249 

(Casts  on  45  Point  Body) 

1234567890 

ERBAR  BOLD  CONDENSED  (54A5)  Size:  Figure  1,  .249;  2  to  0,  .2906 
(Casts  on  45  Point  Body) 

1234567890 


60  Point 


GOTHIC  No.  14  (60A1)  Size:  Figure  1,  .1833;  2  to  0,  .2006 
(Casts  on  45  Point  Body) 

123456/890 


GOTHIC  CONDENSED  No.  3  (60A5)  Size,  .2213 
(Casts  on  45  Point  Body) 


CHELTENHAM  BOLD  CONDENSED  (60A3)  Size: 
Figure  1,  .2075;  2  to  0,  .2628 
(Casts  on  45  Point  Body) 

1234567890 

ERBAR  LIGHT  CONDENSED  (60A7)  Size:  Figure  1,  .235;  2  to  0,  .2767 
(Casts  on  45  Point  Body) 

1234567890 

ERBAR  BOLD  CONDENSED  (60A9)  Size:  Figure  1,  .2906;  2  to  0,  .315 
(Casts  on  45  Point  Body) 

123456789 


Where  two  stijles  of  fiqures  are  shown,  old  style  and  modernized,  specify  which  style  is  desired 


944 


0]\E-LETTER  DISPLAY,  ITALIC-18  to  36  Point 


18  Point 

CHELTENHAM  EXTRA  CONDENSED  ITALIC 

(18A209)  Size,  .083 

1234567890 

ANTIQUE  ITALIC  No.  1  (18A87)  Size,  .1107 
1234567890 

1234567890 

BENEDICTINE  ITALIC  (18A221)  Size,  .1107 

i2^4^6j8go 
1234567890 

BENEDICTINE  BOOK  ITALIC  (18A229) 
Size,  .1107 

i2^4^6y8go 
1234567890 

BODONI  BOLD  ITALIC  (18A187)  Size,  .1107 
(16  Point  Alignment) 

1234567890 

BODONI  BOOK  ITALIC  (I8A2: 
(16  Point  Alignment) 

1234567890 

BODONI  ITALIC  (18A135)  Siz 
(16  Point  Alignment) 

1234567890 


BODONI  BOOK  ITALIC  (I8A21I)  Size,  .1107 
(16  Point  Alignment) 


GARAMOND  BOLD  ITALIC  (18A279) 
Size:  Figure  1,  .0968;  2  to  0,  .1107 
(16  Point  Alignment) 

i2}4^6y8^o 
1234567890 


GARAMOND  BOLD  No.  3  ITALIC  (18A415) 
Size:  Figure  1,  .0968;  2  to  0,  .1107 
(16  Point  Alignment) 

1234367890 


GARAMOND  ITALIC  (18A269I 
Size:  Figure  1,  .083;  2  to  0,  .1107 
(16  Point  Alignment) 

12^4^6/8^0 
1234567890 

r    Special  No.  1 

GRANJON  ITALIC  (18A303) 

Size:  Figure  1,  .083;  2  to  0,  .1107 
(16  Point  Alignment) 

i2j4^6'/8go 

MEMPHIS  MEDIUM  ITALIC  !18A381 
Size,  .1107 

1234567890 


CASLON  OLD  FACE  ITALIC  (18A171)  Size,  .1107 
(16  Point  Alignment) 


1234567890 
1^34567^90 


(Casts  on  16  Point  Body) 


345  7  9 

.TENHAM  BOLD  CON 

3A131)  Size,  .1107 

1234567890 


Special  No.  1 


CHELTENHAM  BOLD  CONDENSED  ITALIC 

(18A131)  Size,  .1107 


CLASSIC  ITALIC  (18A129)  Size,  .1107 

1234567890 

CLOISTER  BOLD  ITALIC  (18A245) 
Size:  Figure  1,  .0968;  2  to  0,  .1107 
(16  Point  Alignment) 

1234567890 

CLOISTER  ITALIC  (18A267) 

Size:  Figure  1,  .0968;  2  to  0,  .1107 
(16  Point  Alignment) 

1234567890 


BENEDICTINE  BOLD  ITALIC  (18A237) 
Size:  Figure  1,  .1107;  2  to  0,  .1245 

i2^/f^6j8po 
1234567890 

CARD  ITALIC  (18A295) 

Size:  Figure  1,  .0726:  2  to  0,  ,1245 

123^567890 

FRANKLIN  OLD  STYLE  ITALIC  (18A181) 
Size,  .1245 

1234567890 

SCOTCH  ITALIC  (18A197)  Size,  .1245 
(19  Point  Alignment) 

123^567890 

CLEARFACE  BOLD  ITALIC  (18A241)  Size, 
(19  Point  Alignment) 

1234567890 

CASLON  ITALIC  (18A385) 

Size:  Figure  1,  ,1245;  2  to  0,  .1522 

1234567890 


CENTURY  BOLD  ITALIC  (18A173)  Size,  .1522 
(19  Point  Aliqnmenl! 

1234567890 


CHELTENHAM  BOLD  ITALIC  (18A175) 

Size:  Figure  1,  .1  58?;  ?  u,  0,  ,15?? 
(19  Point  Alignment; 

1234567890 

VULCAN  BOLD  ITALIC  :18/.3J7,' 
Size:  Figure  1,  .1?45;  2  to  0,  .1522 

1234S67890 

special  No.  1 

iz  o 

CASLON  No.  3  ITALIC  (18A215) 
Size:  Figure  1,  .1522;  2  to  0,  ,1798 
(19  Point  Alignment 

1234567890 

POSTER  BODONI  ITALIC  (18/, 313) 
Size:   Figure   1,   .IS.'?;   ?  to  0,   .1798 

12345G7890 


30  Point 

CHELTENHAM  ITALIC  (20A17)  Size,  .1383 

1234567890 

21  Point 

BODONI  BOLD  ITALIC  (21A17)  Size,  .1245 
(18  Point  Alignment) 

1234567890 

GRANJON  ITALIC  (21A684) 

Size:  Figure  1,  .083;  2  to  0,  .1245 
(18  Point  Alignment) 

i2^4^6y8go 
1234567890 

CASLON  OLD  FACE  ITALIC  (21.'. 5)  Size,  .1383 

(18  Point  Alignment) 

1234567890 
^^345^7^9" 

Special  No.  1.  (Casts  on  18  Point  Body) 

34S   7   9 

24  Point 

CHELTENHAM  BOLD  EXTRA  CONDENSED  ITALIC 

(24A95)  Size,  .1107 

mmm 

Special  No.  1.  Size,  .1522 

1234567890 


CHELTENHAM  EXTRA  CONDENSED  ITALIC 

(24A165)  Size,  .1107 


1234567890 


l.inntxi)"'  Iraclinvsfnr  the  ahorr  fic/urm  cue  uliowti  in  th'  Jrartioti  .sirlioii  imwrilialrhi  folliiic}:!!! 


945 


One-Letter  Display,  Italic— 18  to  36  Point 


LINOTYPE    FIGURES 


34  Point,  continued 

CLOISTER  ITALIC  (24A225) 

Size:  Figure  1,  .1107;  2  to  0,  .1383 
(22  Point  Alignment) 

1234^67890 


BODONI  BOOK  ITALIC  (24A167) 
Size:  Figure  1,  .1383;  2  to  0,  .1522 
(22  Point  Alignment) 

1234567890 


BODONI  ITALIC  (24A169)  Size,  .1522 
(22  Point  Alignment) 

1234567890 

CHELTENHAM  BOLD  CONDENSED  ITALIC 

(24A173)  Size,  .1522 

1234567890 


CHELTENHAM  BOLD  EXTRA  CONDENSED  ITALIC 

(24A95)  Size,  .1522 
Special  No.  1 

1234567890 


CLOISTER  BOLD  ITALIC  (24A209) 
Size:  Figure  1,  .1245;  2  to  0,  .1522 
(22  Point  Alignment) 

1234567890 


BENEDICTINE  BOLD  ITALIC  (24A197) 
Size:  Figure  1,  .1383;  2  to  0,  .166 

i2^^^6y8po 
1234567890 

BENEDICTINE  BOOK  ITALIC  (24A189) 
Size:  Figure  1,  .1383;  2  to  0,  .166 

i2^4^6j8go 
1234567890 

BENEDICTINE  ITALIC  (24A181) 
Size:  Figure  1,  .1383;  2  to  0,  .166 

i2^/f^6y8go 
1234567890 


BODONI  BOLD  ITALIC  (24A147) 
Size:  Figure  1,  .1245;  2  to  0,  .166 
(22  Point  Alignment) 

1234567890 


CASLON  OLD  FACE  ITALIC  (24A125)  Size,  .166 
(22  Point  Alignment) 

1234567890 
i23456y8go 

Special  No.  1.  (Casts  on  21  Point  Body) 

345   7   9 

CENTURY  BOLD  ITALIC  (24A131)  Size,  .166 

(25  Point  Alignment) 

1234567890 

CHELTENHAM  ITALIC  (24A159)  Size,  .166 

1234567890 

GARAMOND  BOLD  ITALIC  (24A237) 
Size:  Figure  1,  .1383;  2  to  0,  .166 
(22  Point  Alignment) 

12}4'y6j8^0 

1234567890 

GARAMOND  ITALIC  (24A229) 

Size:  Figure  1,  .1245;  2  to  0,  .166 
(22  Point  Alignment) 

i2^4^6/8go 
1234567890 

Special  No.  1 


GRANJON  ITALIC  (24A323)  Size,  .166 
(22  Point  Alignment) 

i2^4^6'j8go 
1234567890 

CLEARFACE  BOLD  ITALIC  (24A201)  Size,  .1798 
(25  Point  Alignment) 

1234567890 

CASLON  ITALIC  (24A335) 

Size:  Figure  1,  .166;  2  to  0,  .1937 

1234567890 

CHELTENHAM  BOLD  ITALIC  (24A117) 
Size,  .1937 

1234567890 


VULCAN  BOLD  ITALIC  (24A263) 
Size:  Figure  1,  .166;  2  to  0,  .1937 

1234567890 

Special  No.  1 

IZ  o 


CASLON  No.  3  ITALIC  (24A177) 
Size:  Figure  1,  .1798;  2  to  0,  .2213 

123456789 

30  Point 

CHELTENHAM  EXTRA  CONDENSED  ITALIC 

(30A101)  Size:  Figure  1,  .1245;  2  to  0,  .1383 

1234567890 

CLOISTER  ITALIC  (30A163) 

Size:  Figure  1,  .1383;  2  to  0,  .166 
(28  Point  Alignment) 

1234567890 

CHELTENHAM  BOLD  CONDENSED  ITALIC 

t30Alll)  Size,  .1798 

1234567890 

BODONI  BOOK  ITALIC  (30A103) 
Size:  Figure  1,  .166;  2  to  0,  .1937 
(28  Point  Alignment) 

1234567890 

BODONI  ITALIC  (30A105) 

Size:  Figure  1,  .166;  2  to  0,  .1937 
(28  Point  Alignment) 

1234567890 

CLOISTER  BOLD  ITALIC  (30A157) 
Size:  Figure  1,  .1522;  2  to  0,  .1937 

(28  Point  Alignment) 

1234567890 

GARAMOND  BOLD  ITALIC  (30A175) 
Size:  Figure  1,  .166;  2  to  0,  .1937 
(28  Point  Alignment) 

i234^6j8^o 
1234567890 

GARAMOND  ITALIC  (30A167) 

Size:  Figure  1,  .166;  2  to  0,  .1937 
(28  Point  Alignment) 

12^4^6/8^0 
1234567890 


Where  two  styh/s  of  figures  are  shown,  old  stijle  aitd  ttioderntzed,  specify  which  style  is  desired 


946 


LINOTYPE    FIGURES 


One-Letter  Display , Italic— \^  to  36  Point 


30  Point,  enntinued 

BENEDICTINE  BOLD  ITALIC  (30A113)  Size:  Figure  ],  1798;  2  to  0,  2075 

1234567890 

BENEDICTINE  BOOK  ITALIC  (30A135)  Size:  Figure  1,.166;  2  to  0,  .2075 

1234567890 

BENEDICTINE  ITALIC  (30Al21)  Size:  Figure  1,  ,166;  2  lo  0,  .2075 

i2^4^6j8go 
1234567890 

BODONI  BOLD  ITALIC  (30A123)  Size:  Figure  1,  .1798;  2to  0,  .2075 
(28  Point  Alignment) 

1234567890 

CENTURY  BOLD  ITALIC  (30A91)  Size,  .2075 

1234567890 

CHELTENHAM  ITALIC  (30A97)  Size,  .2075 

1234567890 


CLEARFACE  BOLD  ITALIC  (30A147)  Size,  .2213 

1234567890 

CHELTENHAM  BOLD  ITALIC  '  3n.A95)  Size:  Figure  1,  1798;  2  to  0,  2351 

1234567890 

CASLON  ITALIC  (30A256)  Size:  Figure  1,  .2213;  2  to  0,  .249 

1234567890 

CASLON  No.  3  ITALIC  (30A115)  Size:  Figure  1,  .2075;  2  to  0,  .249 

1234567890 

:S6  Point 

CHELTENHAM  BOLD  CONDENSED  ITALIC  (36A157)  Size,  .2006 

1234567890 

CLOISTER  BOLD  ITALIC  (36A139)  Size:  Figure  1,  .1798;  2  to  0,  .2213 
(34  Point  Alignment) 

1234567890 

CENTURY  BOLD  ITALIC  (36A149)  Size,  .249 

1234567890 


Utnttufn   fnirtions  ff>r  thr  (ihorc  fii/urt  s  nrr  shiurn  in  thr  fritttiftn  sti-fittn  irtimrdiitfrh/  fttllfiu'in(> 


947 


REGULAR  ADVERTISING  FIGURES, 

16  to  30  Point 


These  figures  are  punched  in  the  regular  position 
on  the  matrix  so  that  they  may  be  cast  in  a  Hne 
with  either  the  regular  or  auxiliary  position  char- 
acters of  5  to  12  point  two-letter  faces.  The  Regu- 
lar Advertising  Figure  Mold,  used  with  these  fig- 
ures, has  a  slug  range  adjustable  from  5  to  12 
points  and  a  lip  which  permits  up  to  11  points  of 
figure  overhang  which  is  supported  by  a  second 


slug.  The  supporting  slug  usually  carries  addi- 
tional copy  positioned  to  come  under  the  subject 
matter  appearing  on  the  overhanging  slug.  Ex- 
ample: 

Overhanging  Slug^    CHARM     BRACELETS      (t*  C       Q  ft 

Supporting  Slug^    of  Fine  Sterling  Silver 


Together^    CHARM    BRACELETS 
of  Fine  Sterling  Silver 


$5.98 


BODONI  BOLD  (18A203)  Size,  .1245 
(Casts  Two  Lines  8  Point) 

1234567890 

BODONI  BOLD  (24A161)  Size,  .166 
(Casts  Two  Lines  10  Point) 

1234567890 

BODONI  BOLD  (30A87)  Size,  .2075 
(Casts  Two  Lines  12  Point) 

123456789 

BODONI  BOLD  ITALIC  (24A273} 
Size:  Figure  1,  .1245;  2  to  0,  .166 
(Casts  Two  Lines  10  Point) 

1234567890 

POSTER  BODONI  (18A337) 

Size:  Figure  1,  .1383;  2  to  0,  .1798 
(Casts  Two  Lines  8  Point) 

1334567890 

POSTER  BODONI  (24A291) 

Size:  Figure  1,  .1937;  2  to  0,  .249 
(Casts  Two  Lines  10  Point) 

1S345678 

POSTER  BODONI  (30A237) 

Size:  Figure  1,  .2213;  2  to  0,  .2767 
(Casts  Two  Lines  12  Point) 

1234567 

BOLD  FACE  No.  6  (18A109)  Size,  .1383 
(Casts  Two  Lines  8  Point) 

1234567890 

BOLD  FACE  No.  6  (24A67)  Size,  .1798 
(Casts  Two  Lines  10  Point) 

1234567890 

BOLD  FACE  No.  6  (30A23)  Size,  .2144 
(Casts  Two  Lines  12  Point) 

123456789 


BOLD  FACE  No.  7  (18A119)  Size,  .1383 

(Casts  Two  Lines  8  Point) 

1234567890 

LINING  CASLON  (24A35) 

Size:  Figure  1,  .1245;  2  to  0,  .1798 
(Casts  Two  Lines  10  Point) 

1234567890 

CENTURY  BOLD  (18A9)  Size,  .1245 
(Casts  Two  Lines  8  Point) 

1234567890 

CENTURY  BOLD  (24A15)  Size,  .166 
(Casts  Two  Lmes  10  Point) 

1234567890 

CENTURY  BOLD  (30A25)  Size,  .2075 

(Casts  Two  Lines  12  Point) 

123456789 

CENTURY  BOLD  ITALIC  (18A11)  Size,  .1522 
(Casts  Two  Lines  P  Point) 

1234567890 

CENTURY  BOLD  ITALIC  (24A3)  Size,  .1729 
(Casts  Two  Lines  10  Point) 

1234567890 

CHELTENHAM  (18A255)  Size,  .1107 
(Casts  Two  Lines  8  Point) 

1 234567890 


CHELTENHAM  (20A25)  Size,  .1383 
(Casts  Two  Lines  8  Point) 

1234567890 

(Special  No.  1.  Size,  .1107) 

1 234567890 


CHELTENHAM  (24A195)  Size,  .166 
(Casts  Two  Lines  10  Point) 

1234567890 


CHELTENHAM  (30A149)  Size,  .1937 
(Casts  Two  Lines  12  Point) 

1 234567890 

CHELTENHAM  BOLD  (18A13)  Size,  .1452 

(Casts  Two  Lines  8  Point) 

1234567890 

CHELTENHAM  BOLD  (24A5)  Size,  .1867 
(Casts  Two  Lines  10  Point) 

1234567890 

CHELTENHAM  BOLD  (30A179)  Size,  .2075 
(Casts  Two  Lines  12  Point) 

123456789 

CHELTENHAM  BOLD  ITALIC  (18A15)  Size,  .1591 
(Casts  Two  Lines  8  Point) 

1234567890 

CHELTENHAM  BOLD  ITALIC  (24A7)  Size,  .1937 
(Casts  Two  Lines  10  Point) 

1234567890 

CHELTENHAM  BOLD  CONDENSED  (18A17) 
Size,  .1176 
(Casts  Two  Lines  8  Point) 

1234567890 

CHELTENHAM  BOLD  CONDENSED  (24A37) 
Size,  .1383 
(Casts  Two  Lines  10  Point) 

1234567890 

CHELTENHAM  BOLD  CONDENSED  (30A43) 
Size,  .166 
(Casts  Two  Lines  12  Point) 

1234567890 

CHELTENHAM  BOLD  CONDENSED  ITALIC 
(18A19)  Size,  .1245 
(Casts  Two  Lines  8  Point) 

1234567890 


Liimti/pc  fractions  Jor  the  ahore  figures  are  shown  in  the  fraction  section  immediately  following 


948 


LINOTYPE    FIGURES 


Regular  Advertising  Figures 


CHELTENHAM  BOLD  EXTRA  CONDENSED 

(24A191)  Size,  .1245 
(Casts  Two  Lines  10  Point) 

1234567890 

CLOISTER  BOLD  (18A323) 

Size:  Figure  1,  .0968;  2  to  0,  .1107 
(Casts  Two  Lines  8  Point) 

1234567890 

CLOISTER  BOLD  (24A271) 

Size:  Figure  1,  .1245;  2  to  0,  .1522 
(Casts  Two  Lines  10  Point) 

1234567890 

CLOISTER  BOLD  (30A195) 

Size:  Figure  1,  .1522;  2  to  0,  .1937 
(Casts  Two  Lines  12  Point) 

1234567890 

)eVINNE  CONDENSED  (18A4 
(Casts  Two  Lines  8  Point) 

1234567890 


DeVINNE  CONDENSED  (18A47)  Size,  .1107 
(Casts  Two  Lines  8  Point) 


DeVINNE  CONDENSED  (24A33) 

Size:  Figure  1,  .1107;  2  to  0,  .1383 
(Casts  Two  Lines  10  Pouit) 

1234567890 

DeVINNE  CONDENSED  (30A39)  Size,  .1798 
(Casts  Two  Lines  12  Point) 

1234567890 

;RBAR  BOLD  CONDENSEC 

(Casts  Two  Lines  8  Poini 

1234567890 

erbar  bold  condense: 

(Casts  Two  Lines  10  Poii 

1234567890 

SOTHIC  CONDENSED  No.  , 
(Casts  Two  Lines  8  Point 

1234567890 

(GOTHIC  CONDENSED  No. 

(Casts  Two  Lines  8  Point 

1234567890 

GOTHIC  CONDENSED  No.  1  (2 

(Casts  Two  Lines  10  Point) 

1234567890 

GOTHIC  No.  13  (18A289)  Sizs 
(Casts  Two  Lines  8  Point) 

1234567890 


erbar  BOLD  CONDENSED  (13A417)  Size.  .0968 
(Casts  Two  Lines  8  Point) 


ERBAR  BOLD  CONDENSED  (24A361)  Size,  .1107 
(Casts  Two  Lines  10  Point) 


GOTHIC  CONDENSED  No.  1  (16A9)  Size,  .0968 
(Casts  Two  Lines  8  Point) 


GOTHIC  CONDENSED  No.  1  (18A29)  Size,  .112 
(Casts  Two  Lines  8  Point) 


GOTHIC  CONDENSED  No.  1  (24A19)  Size,  .112 

(Casts  Two  Lines  10  Point) 


GOTHIC  No.  13  (24A187) 

Size:  Figure  1,  .1107;  2  to  0,  .1383 
(Casts  Two  lines  10  Point) 

1234567890 


GOTHIC  No.  13(30A37) 

Size:  Figure  1,  .1383;  2  to  0,  .166 

(Casts  Two  Lines  12  Point) 

1234567890 

(Also  Special  No.  1  Figure  1,  .166) 

GOTHIC  No.  16  (18A5)  Size,  .1798 
(Casts  Two  Lines  8  Point) 

1234567890 

GOTHIC  No.  16  (24A45)  Size,  .2213 
(Casts  Two  Lines  10  Point) 

12345678 

GOTHIC  No.  16  (30A33)  Size,  .2628 
(Casts  Two  Lines  12  Point) 

1234567 

GOTHIC  No.  39  (18A367) 

Size:  Figure  1,  .083;  2  to  0,  .1383 
(Casts  Two  Lines  8  Point) 

1234567890 


GOTHIC  No.  39  (24A309) 

Size:  Figure  1,  .1107;  2  to  0,  .1798 
(Casts  Two  Lines  10  Point) 

1234567890 

GOTHIC  No.  39  (30A231J 

Size:  Figure  1,  .1383;  2  to  0,  .2213 
(Casts  Two  Lines  12  Point) 

123456789 

GOTHIC  No.  40  (18A369) 

Size:  Figure  1,  .0968;  2  to  0,  .1383 
(Casts  Two  Lines  8  Point) 

1234567890 

GOTHIC  No.  40  (24A311) 

Size:  Figure  1,  .1107;  2  to  0,  .1798 
(Casts  Two  Lines  10  Point) 

1234567890 

GOTHIC  No.  40  (30A233) 

Size:  Figure  1,  .1383;  2  to  0,  .2213 
(Casts  Two  Lines  12  Point) 

123456789 

GOTHIC  No.  41  (I8a37l) 

Size:  Figure  1,  .1107;  2  to  0,  .166 
(Casts  Two  Lines  8  Point) 

1234567890 

GOTHIC  No.  41  (24A313) 

Size:  Figure  1,  .1383;  2  to  0,  .2144 
(Casts  Two  Lines  10  Point) 

123456789 


GOTHIC  No.  41  (30A235) 

Size:  Figure  1,  .1729;  2  to  0,  .2698 
(Casts  Two  Lines  12  Point) 


MID  GOTHIC  (18A3)  Size,  .1383 
(Casts  Two  Lines  8  Point) 

1234567890 


MID  GOTHIC  (24A39)  Size,  .166 

(Ca:.ts  Two  Lines  10  Pointl 

1 234567890 

MID  GOTHIC  (30A51)  Size,  .2075 

(Casts  Two  Lines  12  Point) 

1 23456789 

JENSON  (24A31)  Size,  .166 
(Casts  Two  Lines  10  Point) 

1234567890 


MEMPHIS  BOLD  (18A397)  Size,  .1107 

(Casts  Two  Lines  8  Point) 

1234567890 

fm  Special  No.  15 

MEMPHIS  BOLD  (24A345) 

Size:  Figure  1,  .1107;  2  to  0,  .166 
(Casts  Two  Lines  10  Point) 

1234567890 
7 


Special  No.  15 


MEMPHIS  BOLD  (30A265) 

Size:  Figure  1,  ,1245;  2  to  0,  .1937 
(Casts  Two  Lines  12  Point) 

1234567890 


Special  No.  15 


MEMPHIS  EXTRA  BOLD  (18A403) 
Size:  Figure  1,  .0968;  2  to  0,  .1383 
(Casts  Two  Lines  8  Point) 

1234567890 


MEMPHIS  EXTRA  BOLD  (24A355) 
Size:  Figure  1,  .1383;  2  to  0,  .1937 
(Casts  Two  Lines  10  Point) 

1234567890 

MEMPHIS  EXTRA  BOLD  (30A285) 
Size:  Figure  1,  .166;  2  to  0,  .2213 
(Casts  Two  Lines  12  Point) 

123456789 


MEMPHIS  LIGHT  (24A329) 

Size:  Figure  1,  .1107;  2  to  0,  .166 

(C.T.ti;  Two  lines  10  Point) 


1234567  I  1234567890 


Liiwtypr  fractions  j  or  the  aboiw  ii(jure8  are  shown  i}i  thf  fraction  sect  ion  imtnediatcly  foUowinii 


949 


Regular  Advertising  Figures 


LINOTYPE    FIGURES 


MEMPHIS  LIGHT  (30A275) 

Size:  Figure  1,  .1245;  2  to  0,  .1937 
(Casts  Two  Lines  12  Point) 

1234567890 

MEMPHIS  MEDIUM  (24A369) 

Size:  Figure  1,  .1107;  2  to  0,  .166 
(Casts  Two  Lines  10  Point) 

1234567890 

METROBLACK  (18A325) 

Size:  Figure  1,  .1245;  2  to  0,  .1522 
(Casts  Two  Lines  8  Point) 

1234567890 

METROBLACK  (24A277) 

Size:  Figure  1,  .1245;  2  to  0,  .1937 
(Casts  Two  Lines  10  Point) 

1234567890 

METROBLACK  (30A251) 

Size:  Figure  1,  .166;  2  to  0,  .24° 


(Casts  Two  Lines  12  Point) 


12345678 


METROMEDIUM  (18A359)  Size,  .1245 
(Casts  Two  Lines  8  Point) 

1 234567890 


METROMEDIUM  (24A305)  Size,  .166 
(Casts  Two  Lines  10  Point) 

1234567890 

METROMEDIUM  (30A227)  Size,  .2075 

(Casts  Two  Lines  12  Point) 

1 23456789 


NARCISS  (21A25) 

Size:  Figure  1,  .1107;  2  to  0,  .1383 
(Casts  Two  Lines  8  Point) 


12345678^ 

PABST  EXTRA  BOLD  (18A3C 
(Casts  Two  Lines  8  Point) 

1234567S90 


PABST  EXTRA  BOLD  (18A307)  Size,  .166 
(Casts  Two  Lines  8  Point) 


PABST  EXTRA  BOLD  (24A255)  Size,  .2213 
(Casts  Two  Lines  10  Point) 

12345678 

PABST  EXTRA  BOLD  CONDENSED  (18A343) 
Size,  .1107 
(Casts  Two  Lines  8  Point) 

1234567890 

PABST  EXTRA  BOLD  CONDENSED  (24A289) 
Size,  .1522 
(Casts  Two  Lines  10  Point) 

1234567890 

PABST  EXTRA  BOLD  CONDENSED  (30A221) 
Size,  .1937 
(Casts  Two  Lines  12  Point) 

1234567S90 

TITLE  No.  6  (18A85)  Size,  .1418 
(Casts  Two  Lines  8  Point) 

123456Z890 


The  Use  of  Linotype 
Duplex-Display  Matrices  in  Advertising 

On  these  matrices  the  romaii  or  bold  face  is  punched  in       advertising-figure  mold,  for  two-line  advertising  com- 
the  regular  position,  so  that  it  may  be  cast  on  a  regular       position,  as  suggested  by  the  accompanying  illustra- 
tion.   This    is    the    same 

■WWPWJk  ^Ar  ""^t^  method    that   has   always 


I  »  been  used  in  casting  over- 
^•^.f  hanging  figures.  The  face 
in  the  auxiliary  position 
cannot  be  used  in  work  of 
liiis  nature,  since  it  cannot 
be  cast  overhang  on  a  regu- 
ar  advertising  figure  mold. 


The  characters  in  the  reg- 
ular (or  normal)  position 
of  the  duplex-display  mat- 
rices are  cast  overhanging. 
Either  the  regular  or  auxiliary  position 
of  the  body  face  can  be  used  in  the  same  line.  Here  is 
the  result,  with  a  second  slug  for  two-line  work: 


TIIDI/^CV^C        From  the  6esf  of  Maryland        O  O -■ 
lUKIVbTd        Fancy  Grade— Spec/a/ /6.        OwC 


Linotype  fractions  for  the  above  figures  are  shoti'rt-iji  the  fraction  section  immediately  foUowing 


950 


SPECIAL  ADVERTISIIVG  FIGURES, 
RO  MAN-SO  to  48  Point 


These  figures  are  punched  in  the  auxiUary  position 
on  the  matrix.  They  may  he  used  for  two-  or  three- 
line  work  in  connection  with  the  auxiHary  position 
characters  of  5  to  12  point  two-letter  faces,  using 
the  Special  Advertising  Figure  Mold  having  a  slug 
range  adjustable  from  5  to  12  points  and  a  lip 
which  permits  up  to  27  points  of  figure  overhang. 
They  may  also  be  used  with  the  Recessed  Special 
Advertising  Figure  Mold  which  has  a  slug  range 
adjustable  from  10  to  18  points  and  a  lip  which 
permits  up  to  21  points  of  figure  overhang.  This 
mold  permits  the  use  of  18  point  one-letter  faces 


and  thus  makes  possible  two-line  18  point  work. 
Note  that  the  10-18  point  mold,  using  18  point 
liners,  accommodates  the  same  size  figure  as  the 
5-12  point  mold,  using  12  point  liners.  This  means 
that  all  figures  described  below  as  for  three-line 
12  point  can  also  be  considered  as  for  two-line  18 
point.  With  either  of  the  above  molds,  when  a.s- 
sembling  a  line  in  which  two-letter  matrices  are 
used  in  conjunction  with  the  large  overhanging 
figures,  a  space  matrix  should  be  placed  lietween 
the  adjacent  two-letter  matrix  and  the  figure  to 
prevent  metal  escaping  into  the  regular  position. 


BOLD  FACE  No.  6  (36A15)  Sizp,  .27h5 
(Casts  Tliree  Lines  10  Point) 


1234567890 


CENTURY  BOLD  (42A11)  Size,  .2766 
(Casts  Three  Lines  12  Point) 


GOTHIC  CONDENSED  No.  2  (36A13)  Size,  .1937 
(Casts  Three  Lines  10  Point) 

1234567890 


GOTHIC  No.  13  (42A53)  Size:  Figure  1,  .2075;  2  to  0,  .2421 

'Casts  Tliree  Lines  12  Point) 


1234567890    1234567890 


CHELTENHAM  BOLD  (42A9)  Size,  .3112 
(Casts  Three  Lines  12  Point) 


GOTHIC  No.  13  (48A21)  Size:  Figure  1,  .2351;  2  to  0,  ,2767 
(Casts  Three  Lines  12  Point) 


123456789    1234567890 


CHELTENHAM  BOLD  CONDENSED  (42A13)  Si^e,    ,'49 
(Casts  Three  Lines  12  Point) 

1234567890 

CLOISTER  BOLD  (42A51)  Size:  Figure  1,  .2075;  2  to  0,  .2767 
(Casts  Three  Lines  10  Point) 

1234567890 

DeVINNE  CONDENSED  (36A29)  Size,  .2213 
(Casts  Three  I  ines  tO  Point) 

I 234567890 

DeVINNE  CONDENSED  (42A15)  Size,  .249 
(Casts  Tliree  Lines  12  Point) 

1234567890 


GOTHIC  No.  16  (42A7)  Size:  Figure  1,  .3182;  2  to  0,  .3873 
(Casts  Three  Lines  12  Point) 

1234567 

GOTHIC  No.  39  (36A131)  Size:  Figure  1,  .166;  2  to  0,  .2629 
(Casts  Three  Lines  10  Point) 

1234567890 

GOTHIC  No.  39  (42A39)  Size:  Figure  1,  .1937;  2  to  0,  .3044 
(Casts  Three  Lines  12  Point) 

123456789 

GOTHIC  No.  40  (36A133)  Size:  Figure  1,  .166;  2  to  0,  .2629 
(Casts  Three  Lines  10  Point) 

1234567890 


l,iinitl/l>iJr(lcli())lxJoi  till    aharr  fiipiris  an-  shiilrv  in  Ihi    frartiini  xrrtioti  itnmrtlitlti  h/  folloirnui 


951 


Special  Advertising  Figures 


LINOTYPE   FIGURES 


GOTHIC  No.  40  (42A41)  Size:  Figure  1,  .1937;  2  to  0,  .315 
(Casts  Three  Lines  12  Point) 

1234567890 

GOTHIC  No.  41  (36A135)  Size:  Figure  1,  .2075;  2  to  0,  .315 
(Casts  Three  Lines  10  Point) 

1234567890 

GOTHIC  No.  41  (42A43)  Size:  Figure  1,  .249;  2  to  0,  .3736 
(Casts  Three  Lines  12  Point) 

12345678 

MEMPHIS  EXTRA  BOLD  (36A161)  Size:  Figure  1,  .1937;  2  to  0,  .2629 
(Casts  Three  Lines  10  Point) 

1234567890 

MEMPHIS  EXTRA  BOLD  (4SA23)  Size:  Figure  1,  .2698;  2  to  0,  .  .3666 
(Casts  Three  Lines  12  Point) 

12345678 


PABST  EXTRA  BOLD  (30A217)  Size,  .2767 
(Casts  Two  Lines  12  Point) 


1234567890 


PABST  EXTRA  BOLD  (36A113)  Size,  .315 
(Casts  Three  Lines  12  Point) 


123456790 

Special  No.  2 

0 

PABST  EXTRA  BOLD  CONDENSED  (42A37)  Size,  .3044 
(Casts  Three  Lines  12  Point) 

123456789 

PABST  EXTRA  BOLD  CONDENSED  No.  1  (48A13)  Size,  .3044 
(Casts  Three  Lines  12  Point) 

123456789 


ALL-PURPOSE    LINOTYPE 


56 


3456 

These  large  figures  are  available  for  the  AU-Purpose  Linotype  Condensed,  Franklin  Gothic,  Franklin  Gothic  Extra  Con- 
in  a  full  range  of  sizes  up  to  Hi  point.  To  meet  the  varying  densed,  Garamond  Bold  No.  3,  Gothic  No.  13,  Gothic  No.  39, 
needs  and  tastes  in  general  advertising  figure  work,  they  are  Gothic  No.  40,  Gothic  No.  il.  Memphis  Light,  Memphis  Bold, 
made  in  a  generous  variety  of  weights  and  designs:  Bodoni  Memphis  Extra  Bold,  Metrothin,  Metrolite,  Metrotnedium, 
Bold,   Poster   Bodoni,    Erbar   Light   Condensed,    Erbar   Bold  and  Metroblack. 


Linotype  fractions  for  the  above  figures  are  shoufn.  in  the  fraction  section  immediately  folloiving 


952 


SUPERIOR  FIGURES-18  to  48  Point 

(jor  One-Letter  Display) 


BODONI  (24A73)  Size,  .083 
Special  No.  2 


"I  1234567890$^  1 

BODONI  ITALIC  (24A169)  Size,  .083 
Special  No.  2 

7  1234567  890$  ({■  7 

BODONI  (24A73)  Size,  .0968 
Special  No.  1 

]^1234567890$c.,]^ 

BODOIMI  ITALIC  (24A169)  Size,  .0968 
Special  No.  1 

21234567890$c..2 

BODONI  ITALIC  (30A105)  Size,  .0968 
Special  No.  1 

7 123lS67890$t 7 

BODONI  BOLD  (18Alb5)  Size,  .083 
Special  No.  2 

2 1234567890]^ 

BODONI  BOLD  (18A165)  Size,  .0968 
Special  No.  1 

11234567890$r.,l 

BODONI  BOLD  (24A121)  Size,  .1107 
Special  No.  1 

J1234567890$c.J 

BODONI  BOLD  (30A69)  Size,  .1107 
Special  No.  1 

J 1234567890$.]^ 

POSTER  BODONI  (18A309)  Size,  .0968 
Special  No.  1 

J1234567890$e.J 

POSTER  BODONI  (18A309)  Size,  .1107 

Special  No.  2 

J1234567890$c.,l 

POSTER  BODONI  (24A257)  Size,  .1107 
Special  No.  2 

1 1234567890$c.,T| 

POSTER  BODONI  (30A79)  Size,  .1107 
Special  No.  2 

1 12345e7890$^.,| 

CASLON  OLD  FACE  (18Alb9)  Size,  .0553 
Special  No.  3 

1  12H'^678gO-| 


CASLON  OLD  FACE  (24A127)  Size,  .083 
Special  No.  2 


1  123456789()$n 


CASLON  OLD  FACE  (30A129)  Size,  .0968 
Special  No.  1 

2  1234567890$^  1 

CASLON  No.  3  a8A213)  Size,  .0692 
Special  No.  3 

1  1234567890$^  1 

CASLON  No.  3  (18A213)  Size,  .083 
Special  No.  1 

J 1234567890$^.  X 

CASLON  No.  3  (24A175)  Size,  .0968 
Special  No.  1 

J1234567890$c.,J 

CASLON  No.  3  (30A113)  Size,  .0968 
Special  No.  1 

j  1234567890^^ t 

;aslon  bold  condensed 

Special  No.  1 

11234567890$^] 

;aslon  bold  condensed 

Special  No.  1 

1 12345678901^1 

LON  BOLD  condensed  (30; 
pecial  No.  1 

1 1234567890^1 

CENTURY  BOLD  (24A107)  Size,  .0968 
Special  No.  1 

J 1234567890$.  J 

CHELTEMHAIVI  BOLD  (18A97)  Size,  .0899 
Special  No.  2 

11234567890$<^.,1 

CHELTENHAM  BOLD  (24A75)  Size,  .1107 
Special  No.  1 

|1234567890$c.| 

CHELTENHAM  BOLD  (30A31)  Size,  .1107 
Special  No.  1 

1 1234567890SC.  J 

CHELTENHAM  BOLD  ITALIC 

(24A117)  Size,  .1107 
Special  No.  1 

J  1234567890$^.,  I 

CHELTENHAM  BOLD  CONDENSED 
{24A12?)  Size,  .0968 
Speci.il  Nn    ? 

J1234567890$c.,2 


CASLON  BOLD  CONDENSED  (1BA163)  Size,  .0692 
Special  No.  1 


CASLON  BOLD  CONDENSED  (24A119)  Size,  .083 
Special  No.  1 


CASLON  BOLD  CONDENSED  (30A67)  Size,  .0968 
Special  No.  1 


CHELTENHAM  BOLD  CONDENSED 

(30A71)  Size,  .1  10 
Special  No.  2 

2l234567890$c.,J 

CLOISTER  BOLD  (18A243)  Size,  .083 
Special  No.  1 

11234567890^^,1 

CLOISTER  BOLD  (24A207)  Size,  .0968 
Special  No.  1 

J1234567890^c.J 

ERBAR  BOLD  CONDENSED 

Special  No.  2 

<1234567890$H 

:RBAR  bold  CONDENSED 

Special  No.  2 

1 1234567890$H 


ERBAR  BOLD  CONDENSED  (48A15)  Size,  .1245 
Special  No.  1 
(Casts  on  45  Point  Body) 


ERBAR  BOLD  CONDENSED  (24i295)  Size,  .0692 
Special  No.  2 


ERBAR  BOLD  CONDENSED  (34A11)  Size,  .0968 
Special  No.  2 


t 


123456789$<. 


1 


ERBAR  BOLD  CONDENSED  No.  1  (48A19) 
Size,  .1245 
Special  No.  1 
(Casts  on  36  Point  Bodv) 

^123456780$(^.'| 

GARAMOND  BOLD  (18A277)  Size,  .0761 
Special  No.  3 

11234567890$c.l 

GARAMOND  BOLD  (30.'  17  n  Size,  .1107 
Special  No.  1 

1  1234567890$c.1 

GOTHIC  No.  16  (18A179)  Size,  .083 
Special  No.  5 

'I1234567890$c.4 

GOTHIC  No.  16  (18A179)  Size,  .0968 
Special  No.  4 

11234567890$c.,4 

GOTHIC  No.  16  (18A179)  Size,  .1107 
Special  No.  2 

p234567890$c.,l 

GOTHIC  No.  16  (24A139)  Size,  .1107 

Special  No.  4 

I  1234567890$c.1 


l^inotifpr  frnrtions  for  ihr  aborr  Jifiuffs  an-  shown  in  the  fraction  section  imnit dintrlif  foUowing 


953 


Superior  Figures  —18  to  48  Point 


LINOTYPE    FIGURES 


GOTHIC  No.  16  (24A139)  Size,  .1107 
Special  No.  1 

J^1234567890$c.,]^ 

GOTHIC  No.  16  (30A93)  Size,  .1107 
Special  No.  3 

I  1234567890$^.,  ^ 

GOTHIC  No.  41  (18A377)  Size,  .0968 

Special  No.  3 

]1234567890$c.,| 

GOTHIC  No.  41  (24/1319)  Size,  .1107 
Special  No.  2 

]1234567890$c,'| 

GOTHIC  No.  41  (36A135)  Size,  .166 
Special  No.  1 

|1234567$f;i.| 

GOTHIC  No.  13  (18A65)  Size,  .0692 
Special  No.  3 

I  I234567890$c.| 

GOTHIC  No.  13  (18A65)  Size,  .083 
Special  No.  2 

|1234567890$c.| 

GOTHIC  No.  13  (24A51)  Size,  .083 
Special  No.  A 

-If234567890$c,.1 

GOTHIC  No.  13  (24A511  Size,  .0968 
Special  No.  2 

|I234567890$C.,1 

GOTHIC  No.  13  (30A59)  Size,  .0968 
Special  No.  1 

'I1234567890$^,1 

GOTHIC  No.  13  (36A61)  Size,  .1107 
Special  No.  3 

1 I23456789O$01 

30TI 

Sf 

11 234567890$^  I 

:;OTHIC  CONDENSED  P 

Special  No.  4 

11234567890$^1 

lie  CONDENSED  No.  2 

ecial  No.  3 

1l234567890$d 

GOTHIC  CONDENSED  No.  2  (36A23)  Size,  .0899 
Special  No.  4 


GOTHIC  CONDENSED  No.  2  (IsAl)  Size,  .0553 
Special  No.  3 


GOTHIC  CONDENSED  No.  2  (24A21)  Size,  .0692 

Special  No.  4 


GOTHIC  CONDENSED  No.  2  (30A3)  Size,  .083 
Special  No.  3 


MEMPHIS  EXTRA  BOLD  (24A333)  Size,  .1107 
Special  No.  1 

|1234567890$c| 

METROTHIN  (18A259)  Size,  .0692 
Special  No.  2 

]1234567890$c.] 

METROTHIN  (24A275)  Size,  .083 
Special  No.  2 

jl234567890$.j 

METROTHIN  (30A205)  Size,  .0968 
Special  No.  2 

■|1234567890$c.l 

METROMEDIUM  (18A257)  Size,  .0692 
Special  No.  3 

]  1234567890$^.] 

METROMEDIUM  (24A205)  Size,  .083 
Special  No.  2 

11234567890$c.,1 

METROMEDIUM  (30A203)  Size,  .0968 
Special  No.  2 

■jl  234567890$^. 1 

METROBLACK  (18A321)  Size,  .083 
Special  No.  3 

11234567890$c.] 

METROBLACK  (24A267)  Size,  .0968 
Special  No.  3 

11234567890$c.l 

METROBLACK  (24A267)  Size,  .1107 
Special  No.  2 

]1234567890$c.] 


METROBLACK  (30Al93)  Size,  .1107 
Special  No.  2 


11234567890$^.] 

PABST  EXTRA  BOLD  (18A305)  Size,  .083 
Special  No.  2 

J1234567890$c.| 

PABST  EXTRA  BOLD  CONDENSED  (24A27q) 
Size,  .083 
Special  No.  1 

|1234567890$c.,| 

PABST  EXTRA  BOLD  (24A259)  Size,  .1107 
Special  No.  1 

J  1234567890$G.,  J 

PABST  EXTRA  BOLD  (30A217)  Size,  .1107 
Special  No.  2 

J 1234567890$c.  J 

PABST  EXTRA  BOLD  CONDENSED  (36A125) 
Size,  .1107 
Special  No.  3 

|1234567890$<.| 

TITLE  No.  2  (24A143)  Size,  .0968 
Special  No.  1 

J 1234567890$c.  J 

VULCAN  BOLD  (18A3H)  Size,  .083 
Special  No.  2 

-|1234S67890$c.J^ 

VULCAN  BOLD  (24A261)  Size,  .1107 
Special  No.  2 

|^1234567890$c.J^ 


SUPERIOR  FIGrRES-18  to  24  Point 

(for  Regular  Advertisirig  Figures) 


1 


1234567890$|!| 


BODONI  BOLD  (18A203)  Size,  .083 

Special  No.  1 

2 1234567890$^ J 

BODONI  BOLD  (24A161)  Size,  .0968 
Special  No.  2 

1  1234567890$^ 1 

POSTER  BODONI  (18A337)  Size,  .0968 
Special  No.  2 

J 1334567890$^.,]^ 

POSTER  BODONI  (24A291)  Size,  .1107 
Special  No.  2 

I  1234567890$^.,| 

CENTURY  BOLD  (24A15)  Size,  .0968 
Special  No.  1 

J1234567890$c,.J 


CHELTENHAM  BOLD  EXTRA  CONDENSED 

(24A191)  Size,  .083 
Special  No.  1 

1 1234567890$^.,  J 

GOTHIC  No.  41  (18A371)  Size,  .0968 
Special  No.  2 

]1234567890$c| 

GOTHIC  No.  41  (24A313)  Size,  .1107 
Special  No.  1 

11234567890$c.,1 

MID  GOTHIC  (24A39)  Size,  .1107 
Special  No.  1 

-|1234567890$c.,-| 


Linotype  fractions  for  the  above  figures  are  shoivn  in  the  fraction  section  immediately  following 


954 


DECIMAL  FIGURES-6  to  10  Point 

CA]\CELED 
FIGURES 

6  Point 

9  Point 

8  to  11  Point 

IONIC  No.  5  with  BOLD  FACE  No.  2  (6A288) 

TEXTYPE  with  BOLD  FACE  No.  2  (9A118) 

Size,  .0415 

Size,  .0484 
1.1234567890  Special  No.  1 

1.1234567890  Special  No.  1 

1.12.'{4567890 

6»/i  Point 

1.12.14567890 

TEXTYPE  with  ITALIC  (9A122)  Size,  .0484 

8  Point 

IONIC  No.  5  with  BOLD  FACE  No.  2  (6ViA2) 

No.  1  (8A98)  Size,  .056 

Size,  .050 

1.1234567890  SP^ial  No.  1 

^2>!WW5<:W  Special  No.  1 

1.1234567890  Special  No.  1 

J.J2.M567S90 

1.12:!;56:8!MI 

No.  1  (8A1)  Size,  .059 
(High  Alignment) 

7  Point 

10  Point 

in,\mun 

TEXTYPE  with  BOLD  FACE  IMo.  2  (7A130) 

Size,  .0184 

TEXTYPE  with  BOLD  FACE  No.  2  (10A322) 

1.1234567890  Special  No.  1 

Size,  .0484 

1 1  Point 

1.1234567890 

1.1234567890  5P^<:i^l    No.  1 

8  Point 

1.1234567890 

DeVINNE  with    ITALIC  (Canceled)  (11A62) 
Size,  .0761 

TEXTYPE  with  BOLD  FACE  No.  2  (8A394) 
Size,  .0484 

TEXTYPE  with  ITALIC  (10A324)  Size,  .0484 

V23muS9() 

1.1234567890  Special  No.  1 

1.1234567890  ^P'"'^'^'  ^°-  ^ 

-ia3'1nf,7S90 

1.1234567890 

1.1234567890 

No.  9  (Plain  and  Canceled)  (11A20)  Sire,  .077 

iL>;j4r)G7S!i() 

SMALL  CA] 

P  FIGURES 

lasioOTsoo 

6  to  i: 

Z  Point 

VERTICAL 

6  Point 

"No.  2  (6A4)  Size,  .042 

'CHELTENHAM  (10A18)  Size,  .0622 

HhI234567890HH 

SLUG  FIGURES 

HH12:i4.'S(i7.S9nHH 

GRANJON  (Auxiliary  Position)  (10A318) 
Size,  .0622 

6  to  12  Point 

METROMEDIUM  with  METROTHIN  (6A300) 

Size,  .0484 

HhI234567890hH 

Hm1234567890mH 

Hh1234567890hH 

■OLD  STYLE  No.  7  (10A184)  Size,  .0622 

Hh1234S67890hH 

7  Point 

CLASSIC  (10A22)  Size,  .0692 

6  Point 

►OLD  STYLE  No.  1  (7A14)  Size,  .0415 
Special  No.  1 

Hh1234567890hH 

No.  2  (6A49)   Size,  .083 

Hhi2J456-89('HH 

*No.  6  (10A14)  Size,  .070 

HlI12  34  5G789l)IlH 

No.  2  with  GOTHIC  No.  6  {6A56)  Size,  .083 

8  Point 

'CENTURY  EXPANDED  (10A16)  Size,  .077 

•BODONI  BOOK  (8A280)  Size,  .0415 

HH12345()7890HH 

HH12,M567«9nHH 

OLD  STYLE  No.  1  (8A30)  Size,  .042 

11  Point 

8  Point 

HH1234.i67890HH 

*No.  1  (11A2)  Size,  .059 

No.  2  with  GOTHIC  No.  6  (8A4)  Size,  .1107 

'CHELTENHAM  (8A12)  Size,  .0484 

Hin234r)(!7S!)()IllI 

HhI2!4567890hH 

Special  No.  1.  Size,  .0553 

GRANJON  (Auxiliary  Position)  (8A386) 

H  111234.5(578901 1 H 

Size,  .0553 
Hni2J4567H'>l>IlH 

12  Point 

10  Point 

►No.  1  (8A98)  Size,  .059 

'CHELTENHAM  (12A18)  Size,  .0622 

DeVINNE  with  ANTIQUE  No.  3  (10A64) 

IIlIlL':M.'.r,-s'.M)HH 

HhI234567890hH 

Size.   .1383 

r-j  CI  TO  -+  ir;  -^  1  -  X  cr.  o 

•CENTURY  EXPANDED  (8A26)  Size,  .063 

GRANJON  (Auxiliary  Position)  (12A288) 

TH(Me0Tl<iOC0t-00C35O 

HHij:;4r.(;TsiM»HH 

Size,  .0692 

HhI234567890hH 

10  Point 

13  Point 

•CENTURY  EXPANDED  (12A22)  Size,  .083 

►OLD  STYLE  No.  1  (10A6)  Size,  .049 

Hinj,u5o7S90iiH 

HH1234567890HH 

DeVINNE  with  ANTIQUE  No.  3  ( 12A38) 
Size,  .166 

No.  13  (10A26)  Size,  .056 

•DeVINNE  (12A14)  Size,  .084 

T-H  (M  ^rC  TfH  IQ  CO  l^  X  CTi  O 

HHi:i:{4507H'joiiH 

nHl'J345(i789()HH 

i-ICSJC0-<^i0«0t~00C5O 

*Imliratrs  DupUcutc  Charactt'r 


955 


DUPLEX-DISPLAY  FIGLRES-IS  and  24  Point 

Matrix  capacity  and  service  are  doubled  with  Linotype  Duplex-Display  figures.  Preceding  pages  do 
not  contain  complete  showings.  Additional  faces  since  made  available  are  shown  below. 


BODONI  BOOK  with  ITALIC  (18A80)  Size,  .1107 

(16  Point  Alignment) 

1234567890 
1234567890 

CASLON  with  ITALIC  (18A86)  Size,  .1245 

1234567890 
1234567890 

CENTURY  BOLD  with  ITALIC  (18A76)  Size,  .1107 

(19  Point  Alignment) 

1234567890 
1234567890 

Special  fJo.  1.  Size,  .1245 

1234567890 
1234567890 

CHELTENHAM  with  ITALIC  (18A92)  Size,  .1107 
(19  Point  Alignment) 

1 234567890 
1234567890 

CHELTENHAM  BOLD  with  ITALIC  (18A90) 

Size,  .1107 

1234567890 
1234567890 


ROMAN  with  ITALIC 

METROLITE  No.  2  with  ITALIC  (18A50) 
Special  No.  8. 
Size:  Figure  1,  .1107;  2  to  0,  .1522 

1234567890 
1234567890 

PABST  EXTRA  BOLD  CONDENSED  with  ITALIC 

(18A72)  Size,  .1107 

1234567S90 
1234567890 

BODONI  with  ITALIC  (24A38)  Size,  .1522 
(22  Pomt  Alignment) 

1234567890 
1234567890 

BODONI  BOLD  CONDENSED  with  18  Point 
BODONI  BOLD  ITALIC  (24A84)  Size,  .1107 

(22  and  IG  Point  Alignments) 

1234567890 

1234567890 

CENTURY  BOLD  with  ITALIC  (24A76)  Size,  .166 

(25  Point  Alignment) 

1234567890 
1234567890 


CHELTENHAM  with  ITALIC  (24A92) 

1234567890 
1234567890 

CHELTENHAM  BOLD  with  ITALIC  (24A90) 
Size:  Figure  1,  .1798;  2  to  0,  .1937 

1234567890 
1234567890 

CHELTENHAM  BOLD  CONDENSED  with  ITALIC 

(24a24)  Size,  .1107 

1234567890 
1234567890 

MEMPHIS  BOLD  with  ITALIC  (24A20) 

Size:  Figure  1,  .1107;  2  to  0,  .166 

1234567890 
1234567890 

PABST  EXTRA  BOLD  CONDENSED  with  ITALIC 
(24A72)  Size,  .1522 

1234567890 
12W67S90 


ERBAR  MEDIUM  CONDENSED  with 
ERBAR  LIGHT  CONDENSED  (18A88) 

Size,  .0-168 

1234567890 

1234567890 


MEMPHIS  EXTRA  BOLD  CONDENSED  with 
MEMPHIS  MEDIUM  CONDENSED  (18A70) 

Size,  .0968 


1234567890 

1234567890 


METROBLACK  No.  2  with  METROLITE  No.  2 
(18A8)  Special  No.  8. 
Figure  1,  .1107;  2  to  0,  .1522 

1234567890 

1234567890 


ROMAX  tmrii  BOLD 

METROLITE  No.  2  with  METROBLACK  No.  2 

(18A74)  Size,  .1107 

1234567890 
1234567890 


PABST  EXTRA  BOLD  CONDENSED  with  14  Point 
GOTHIC  No.  16  (1BA78)  Size,  .1107 
(18  and  14  Pomt  Alignments) 

1234567S90 

1234567890 


ERBAR  MEDIUM  CONDENSED  with 
ERBAR  LIGHT  CONDENSED  (24A88) 

Size,  .1107 

1234567890 
1234567890 


MEMPHIS  BOLD  with  MEMPHIS  MEDIUM 

(24A64)  Size:  Figure  1,  .1107;  2  to  0,  .166 

1234567890 

1234567890 

MEMPHIS  BOLD  CONDENSED  with 

MEMPHIS  MEDIUM  CONDENSED  (24A68) 
Size,  .1107 

1234567890 

1234567890 

MEMPHIS  EXTRA  BOLD  CONDENSED  with 
MEMPHIS  MEDIUM  CONDENSED 

(24A70)  Size,  .1107 

1234567890 

1234567890 


956 


The  following  pages  ]>resent  a  complete  showing  of  Linotype  Fractions,  sup])lementing 
Linotype  Figures  immediately  preceding.  They  are  grouped  under  various  classifica- 
tions, with  each  arranged  in  the  sequence  most  adaptable  to  its  nature  and  use.  The 
classifications: 


^One-Letter  ... 

^Duplex  Display 
^Two-Letter,  Roman  with  IJold 
-One-Letter  Di.splay 
•^Regular  Advertising  Fractions 
■^Special  Advertising  Fractions 


ttl  size  liG  tiqi- 

4  to  14 
18  and  ^24 

4  to  "24 
1(3  to  m 
U)  to  30 
m  to  48 


Superior  Fractions: 
■'•One-Letter  Display 
'Regular  Advertising  Figures 
'Wrtical  Slug  Fractions 
'Piece  Fractions 
-Fractions  tor  Liniuu  Faces 


Poiiii  .s; 

z>'  Ran  lie 

IS 

.S6 

18 

an. 

^24 

() 

10 

5 

14 

() 

18 

Theik  akkangkment:  '/j*/  point  siz<-.  th<n  by  set- width  size,  then  alphabetically.  -Ihj  point  size,  thru  ulphalx  ticalh/.  ■'■Hi/  faniili<  s.  alphalu  tira/ly. 


ONE-LETTER-4  to  14  Point 


4  Point 

No.  18  (5Al)  Special  No.  1.  Size,  .092 
V»  '4  ^8  ',2  •'Js  %  %  ' 3  %  Vs  -.i,  %  %  %  % 

EXCELSIOR  (5i'2A50)  Em  Size, 
(Casts  on  5  point  body) 

.092 

CENTURY  EXPANDED  (4A4)  Size,  .0968 

5  Point 

No.  10  (5A8)  Em  Size,  .0968 
%  Vt  %  V2  %  "i  %  ',i  %Vb%%  %  Ve  % 

Special  No.  2  (Casts  on  5  point 
'  a  '  4  %  '  2  %  %  % 

body)  Size, 

.100 

UNIVERSAL  FRACTIONS  (5A3fa2)  Size,  .0692 

51/2  Point 

IONIC  No.  5  (5i,2A44)  Em  Size, 
(Casts  on  5  point  body) 

.092 

AAAAftl.'.iSH 

No.  1  (5V2AI)  Special  No.  1.  Size,  .077 

>8'4',s34-'8"b='3'5-.-i  =  5''5'6% 

No.  18  (5Al)  Em  Size,  .070 

' »'  4■■'l.',i■'',s■''^'.^'  r,7f.''.-."'f.'  ■."'i; 
Special  No.  2.  Size,  .077 

Special  No.  ?  (Casts  on  5  point 

body)  Size, 

.100 

iHLUliUtlUt 

AAfti'rftiliiUS 

'8'4=b583478 

Special  No.  1.  Size,  .092 
'-i  '  i  -'s  '4  ^K  "i  ^  "4  %  'y^ri.%%  v.,  S 

No.  2  (5V2A5)  Em  Size,  .077 

No.  1  (SViAl)  Em  Size,  .092 

CASLOIM  No.  3  (5A28)  Em  Size,  .083 

No.  2  B  with  BOLD  FACE  No.  2  B  (5' 2A36) 

Special  No.  4.  (Casts  on  5  point  body)  Size,  .077 

iV.  1^1  ic'  lAi  1^  1*^  i^  A  1*3 
/=  A  .V  H 

iw,nr. 

■..•.r's'.''„'4% 

,\:M::Cr.AHHn 

lOIMIC  No.  5  (5A26)  Em  Size,  .083 
OLD  STYLE  No.  1  (5A30)  Em  Size,  .083 

'» '4  ?i;  ".■>!.««!'; 

No.  3  (5V2A7)  Size,  .077 

No.  4  (5V2AI8)  Special  No.  3.  Size,  .083 

SPECIAL  GOTHIC  No.  9  (5V2A38)  Size,  .083 

Special  No.  1.  Size,  .077 

•»'4-!«l4^s%"i'4%%%'i.% 

Special  No.  2  (Casts  on  5  point  body)  Size, 

.092 

li'iliHl 

i ;  I 

Special  No.  1.  Size,  .1107 

CASLON  BOLD  (5.A38)  Size,  .092 

CLARENDON  No.  1  (5V2A11)  Size,  .092 

^,:  ,-\  ft  ,'^  ft  iuns 

*n'4-^M^  ■'^!)S-'4"n 

'sU^is'j^U's 

■f^    :i'2   •?!   il    hi   ii    JS   U    J?   i»   HJ 

i?  5«  nS  U 

957 


One -Letter— ^i  to  14  Point 


LINOTYPE    FRACTIONS 


5 1/2  Point,  continued 

No.  2  C5V2A22)   Size,  .0968 
Va  Vi  ?8  V2  %  %  % 

EXCELSIOR  (5V2A5O)  Special  No.  2.  Size,  .100 
(Casts  on  5  point  body) 
Va  V4  %  y2  Va  ^4  Va 

IONIC  No.  5  (5V2A44)  Special  No.  2.  Size,  .100 
(Casts  on  5  point  body) 
y8y4%%%% 

No.  1  (5V2A4)  Size,  .100 

Vh  V4  %  %  %  %  %  %  %  Ys  %  %  %  y«  % 
A  A  A  A  A  «  «  H 

Special  No.  1.  (Casts  on  5  point  body)  Size,  .100 
%  V,  %  Vz  %  %  % 

Size,  .1107 

A  A  A  A  A  «  ii  H  SI  H  «}  ii  ii 
ii  II  ii  H  a  Ji  H  «  «  Si  «  IS  «  H 

No.  1  (5V2AI)  Special  No.  1.  Size,  .1107 
A  A  A  A  A  H  H  58 
A  A  A  A  ii  45  M  hi  J«  «  3«  iis  ji  i?  3i 

No.  4  (5V2A18)  Em  Size,  .1107 
Vs  H  %  ¥2  %  %  %  %  % 
HiiHi 
Special  No.  1.  (Casts  on  5  point  body) 
Size,  .1107 

ys  %  %  y2  %  %  %  %  % 

Special  No.  3.  Size,  .083 

y»y4%y2%%% 

BOLD  FACE  No.  1  (5V2A9)  Size,  .126 
V»  Vi  ■■Vh  %  %  %  % 

BOLD  FACE  No.  1  (5V2A6)  Size,  .126 
Special  No.  1.  (Casts  on  5  point  body) 

%  Vi  %  Va  %  %  % 


6  Point 

GOTHIC  No.  29c  with  GOTHIC  No.  30c  (6A206) 
Size,  .0415 

Hi 
No.  3  (6A10)  Size,  .056 

BODONI  (6A158)  Em  Size,  .083 
Vs  'A  %  V2  %  %  7a  Vz  %  '/s  %  %  %  V„  % 

BODONI  BOOK  (6A192)  Em  Size,  .083 

.  imm 

GARAMOND  (6A274)  Em  Size,  .083 

Vs  %  y»  Yi  V>  54  '/8  '/j  % '/;  'A }'.  %  'A  '/* 

GOTHIC  CONDENSED  No.  2  (6A53)  Size,  .083 

y8V4^8y2y8%V8 

GRANJON  (6A372)  Em  Size,  .083 

Vi '/,  '/a  Vi  Vi  Va  7s  7)  %  7,  K  7,  %  76  7* 

No.  1  (6A1)  Special  No.    6.  Size,  .083 
AAAtWbU}I1I 

nimiiixniiimmmmniii 

No.  21  (6A150)  Em  Size,  .083 

mmkmMm 

Special  No.  3.  Size,  .0968 
¥874%%%% '/a 

OLD  STYLE  No.  3  (6A102)  Em  Size,  .083 


UNIVERSAL  FRACTIONS  (6A362)  Em  Size,  .083 

12345278 
99993959 
J_   2     3   ^  _5_  JL  JL  i -^ 

1     2  _3     4  ..5 6    7     8     9  UJll 

T2T5i2r5l  2l2T5l2r^l2  12 

ITS  0 16  T6  J  G  T^  TTi  iTT  rC  "Tu  18  iR  16  1  (i  1? 

1_  2     3     4  _5 C_  7     8     9  10111213141 S 

T2 3^ 32 T2 T5 512 T5 3^ 5^ 3t 32 3 2 55 SIS  32 

3^323^3^52  5532  3^35 1^5^323^  5^  3^3^ 

61645^^464  0464 64 5^640404 64 C4 6404 U4«4 64 63  64 
.2.^  3_^  2J  2.5  ^  2_7  2 J  29  ao  11 32  3Ji  3i  35  ac  3J  5^  i^  il)  4J  42 
(>4<>4G464u4<J464G464ti46464046464U4(i4U4(>46464 

P  4^  4^  ±£  ±J  4  8  49  55  11  £2  53  p  54  55  ni  SB  &a  e  Jl  Gl  (L2  63 
64G4C46464646464  6464S4d4  64<r4ig^U4(i4l>464  646t 

No.  1  (bAl)  Special  No.  2.  Size,  .084 


tstbir: 


UiiiS 


No.  2  (6A21)  Em  Size,  .084 

v4%%y2%%T8y3%y5%%%y8% 
mmiKimm 

AtTjA  A)  1^0  A  AlTlft 
S^3'23'2^25'5jyi5IJ?JS3*l§l?S?iJ 

Special  No.  1.  Size,  .100 
No.  3  (6A5)  Size,  .084 

V8U%%%%% 

OLD  STYLE  No.  1  (6A8)  Special  No.  2.  Size,  .084 

No.  28  (6A34)  Size,  .089 

ANTIQUE  No.  1  (6A98)  Em  Size,  .0968 

Vi  !4  Vi  %  Vi  3/4  Vi  Vz  Vz  Vs  Vs  Vi  Vs  Vt  Vi 

CASLON  BOLD  (6A410)  Size,  .0968 

"/8?4%'/2%%y8 

CASLON  No.  2  (6A202)  Em  Size,  .0968 

CASLON  No.  3  (6A160)  Em  Size,  .0968 

74  ^  '  2  */.  'A  Vt  Vz  %  Vi  %  %  Vi  '6  % 

1  t   J  I   S  ]  7  1 

«  4  0  2  A  4  «  3 

CASLON  OLD  FACE  (6A224)  Size,  .0968 

CENTURY  EXPANDED  (6A42)  Em  Size,  .0968 

%  Vi  %  Vi  %  %  '/a  73  %  ys  ?4  ^'s  -"/s  Ve  % 

CHELTENHAM  BOLD  CONDENSED  (6A232) 
Size,  .0968 
^'^y^VsV'zVsViViVzVz 
CLASSIC  (6A20)  Size,  .0968 

CLOISTER  (6A280)  Em  Size,  .0968 

7,  74  7,  72  78  74  7,  73  7j 

ELZEVIR  No.  3  (6A220)  Size,  .0968 

VfYAVuVziiyAV!. 

EXCELSIOR  (6A320)  Em  Size,  .0968 

Vs  74^8  y2^'8  7ay3%  ys^^s",;; 


GARAMOND  BOLD  (6A286)  Size,  .0968 
Va  '/4  Vh  Vi  V,V4,  V»  73  Vi  V-,  Vi  V,  y,  Vi  Vi 

IONIC  No.  5  (6A302)  Em  Size,  .0968 
78  V4  %  V2  %  ^/4  7b 


MEMPHIS  BOLD  (6A364)  Em  Size,  .0968 
V8V43'8y25/B3/4y8y3%ys%3/5V5y6V6 

113  1  537 
848284  8 

MEMPHIS  LIGHT  (6A368)  Em  Size,  .0968 

l/8W/8l/2y83/4y8 
113: 537 
8482848 

MEMPHIS  MEDIUM  (6A326)  Em  Size,  .0968 

y8y4%72y8%%'/3V3V5y53/5V5y6y6 

113  1 537 
8482848 

No.  21  (6A150)  Special  No.  3.  Size,  .0968 

y8y4%y2%%% 

OLD  STYLE  No.  7  (6A194)  Em  Size,  .0968 

ViVAViiyz^^AytVzViyiysys'^Vf.Vi 

Special  No.  1.  Size,  .0484 
SCOTCH  (6A96)  Em  Size,  .0968 

78  74  %  %  %  %  %  V3  %  75  %  %  %  76  % 

TEXTYPE  (6A304)  Em  Size,  .0968 

78  74?8Vi%3,4?8V3%y52,^r5r5y6% 
1  131537121234  15 
84S2848335S5S66 

CLARENDON  No.  1  (6A19)  Em  Size,  .100 

V4  72^4 


No.  1  (6Al)  Em  Size,  .100 

Vs  V4  %  %  %  %  %  Ms  %  ys  %  %  %  ye  % 

Y77rT7 

A  A  A  B^  A  ii  il  li  U  U  ii  1%  %l  l\  U 

u  u  II 55  u  m  ii  i%  u  n  a  n  n  %k  %i 

Special  No.  6.  Size,  .083 

S^^23W23"2j^yyj3JIS.Miia§!SiiJ 

AAAAAiU2JJJHSg.ii3illiglil 
iJS5?l25l4'aiS8yiSiSilSmi8i8l 

Special  No.  2.  Size,  .084 

y8y4%y2%%y8y.%Mi%%%y6% 

Special  No.  4.  Size,  .104 

1       3       5       7       <<     J  1    1  3    1  .-. 

la  IS  "15  IB  18  lii  n;  If, 

Special  No.  5.  Size,  .1107 
AAA 

Special  No.  3.  Em  Size,  .112 

Vs  y*  %  %  %  %  78  y3  %  ys  %  %  %  % 

1  "  3  4  5  6 
YfYrYT 

A  A  A  A  A  H  {R  }? 

-H  A  A  A  A  H  *«  M  il  H  5i  Jl 

A  A  A  A  A  JUi  y  J5  ^?  U  II II II  Si  M 

A  A  A  A  A  U  il  l\  1%  ii  il  ii  ii 

Ii  U  31 II  ti  «  a  n  ik  ii  II  ik  II 

No.  2  (6A21)  Special  No.  1.  Size,  .100 

y4y2 

No.  12  (6A15)  Size,  .100 

ys  y4  %  y2  %  %  % 

OLD  STYLE  No.  1  (6A8)  Size,  .100 

yiyAViyViViyiVzysysys'^ybH 

Special  No.  3.  Size,  .100 
Vi  Va  t-A  Vz  Vi  Vi  Vi  Vt 
Special  No.  2.  Size,  .084 

No.  16  (6A62)  Em  Size,  .1038 

%  %  %  ya  %  %  ys  ya  %  ys  %  %  %  ye  % 

iiiifJJH 


958 


LINOTYPE    FRACTIONS 


0  ne- Letter— i  to  14<  Point 


6  Point,  coiif  iiiiicfl 

7  Point 

No.  21B  (7A152)  Em  Size,  .1107 

•/»  1,4  -58  y2  %  %  % 

No.  1  (bAl)  Special  No.  4.  Size,  .104 

1       3      .""I      7      9     1  1    1  :i    1  .'. 

No.  21  (7A66)  Special  No.  1.  Size,  .0484 

1  1  3  15  3  7 
8  1  8  2  8  1  M 

If.  10  111  T5  15  v..  1.;   1.. 

ilg.iilS 

BENEDICTINE  (6A244)  Size,  .1107 
'8  !4  n  Vz  %  H  'h 

BOLD  FACE  No.  3  (7A52)  Size,  .084 

1    1. 3    153712 

OLD  STYLE  No.  7  (7Aq6)  Em  Size,  .1107 
U^AVn'^J  H  ■}  4  ^^  Yi  Va  '  5  ^5  3/5  ^/^  J^  5^ 

H4S284833 

I    1  .M  J  J  7 

BENEDICTINE  BOOK  (6A250)  Em  Size,  .1107 

a  4  8  J  ft  4  8 

1        l/l/l^*;'!/?       1''       !'1'4       1        s 

BODONI  (7A92)  Special  No.  1.  Em  Size,  .0968 

.8  A  'a  /I  /8  ;4  ,«  !-j  r)  ; ;  -.',  /i  /=,  '/i    6 

(Casts  on  6  point  body) 

CASLON  (7A8)  Em  Size,  .112 

iUHUUiiiiti 

V8'/4%y2%%% 

'.  S  'm  V%  Vl  5/8  J/4  ;  8  Vi  'A  /S  r's  -Vs  ^/S  '/6  V6 

BODONI  BOLD  (6A156)  Em  Size,  .1107 

MMS'iS- 

ii^HiJ 

Vh  Vi  -Vh  M:  %  %  %  M>  %  %  %  %  %  M.  % 

BODONI  BOOK  (7A94)  Size,  .0968 

Special  No.  1  (Cast  on  6  point  body)  Size,  .112 

l.li!'-i;3A 

V»  Vi  %  V2  %  %  '/s  Mi  %  Vs  %  %  ■•'s  Vfl  % 

J'S   Vx   -Vk  /'2  ■'''8    U    ?8 

BOOKMAN  (6A394)  Size,  .1107 

1/8  1  4  %  V2  5/8  %  '  8  '/3  %  Vs  Vs  %  %  Ve  5/6 

CASLON  No.  137  (7AI68)  Size,  .0968 
'/a  '/4  !-^  ^.  ys  54  %  '/5  %  '/5  %  K  1;  ',6  M 

GOTHIC  No.  4  (7A15)  Size,  .112 
l/8'/4%'/2%%% 

CHELTENHAM  BOLD  (6A162)  Em  Size,  .1107 

Vs  Vi  %  '-2  %  %  %  %  %  '4  %  3,^  %  y^  5;. 

TEXTYPE  (7A132)  Em  Size,  .0968 

OLD  STYLE  No.  1  (7Al4)  Size,  .112 

UimVA 

V8  V4%  y2%%y8  V3%  ¥52/5%%%% 

1131 537 

'^'AV^'AViVAV^VsVi 

CLOISTER  BOLD  (6A268)  Em  Size,  .1107 

8-1H2848 

BOOKMAN  (7A170)  Size,  .118 

'/»  '/4  '  8  \'l  Vs  Va  %  '/3  -/'3  '/S  ^5  Vs  Vs  '/6  Ve 

UNIVERSAL  FRACTIONS  (7A3b2)  Em  Size,  .0968 

'  8  V4  3/s  1/2  5/„  34  7/g  1/3  2/^  1,-5  2  5  .5.5  4  5  14  S/g 

UHHiitii^a 

I  L>  :i  4  :>  G 
7  7TT7T 

i2:i45n7S 

GARAMOND  BOLD  No.  3  (7A174)  Size,  .118 

DeVINNE  (6A24)  Em  Size,  .1107 

y  a  ;t  9  u  it  11 9 

Vs  %  %  %  %  %  %  %  Vs  %  %  %  %  ■;•(, 

J     2     3     4     .'.  J_J— 8-    9 

lorcioiuiciioiuiunr 

'/8  '4  %  !/2  5/8  Va  /8  '/j  2/3  '/5  ?  5  H  4/  1/6  5/6 

JV2^g1?,',.^Sgg^.',S 

-i.iJLj.iji_iJ_  9  i"ia 

1212121212121212121212 
1      3      5      7      K      9    1113  15 

GARAMOND  No.  3  aM72)  Size,  .118 

GARAMOND  BOLD  No.  3  (6A396)  Size,  .1107 

iiiniT'.iAi^fTiTTmlrO 

1     .1    r.    7    !>  1  1  I  :m  r.  1  7  1  9  2 1  2  3 

24242424242   1  2  4  2  4  2  )  2  4  2  1  J  I 

'  s  1  , '  8  Vi  H  ^4  ^  14  %  VS  i'i  ^  s  ^  l^  % 

•/8  1  4  !-8  1/2  Vs  %  %  '  3  2/3  '/5  2/5  ^5  •«  5  U,  '^  6 

_L     3     5     7     11    1   [  1  ,11  ".  1  7  1  ■>  '  [  ■.'   1  ■'  -.  "  T  '"n  1 

No.  1  (7A1)  Size,  .118 

GARAMOND  No.  3  (6A398)  Em  Size,  .1107 

32.T2323^:tL^    '.       1    ■                  ;       ,       ;  j                         ;  .! 

V's  V4  y»  V2  Vs  5-4  J-8  Vi  ?  3  Vs  75  ii  '^5  V'6  ''^ 

_3 2_JL_5__7_    ■'    1   1   I  ..  1    .  1  7   1  ■'  _■  ;  .■    ■  J    .  /  ■' 

G4i54(i4y4U  n;  i .;  1 1.  i  >■,  i  c  n;  1 1.  m,  m.  i  >.  i 

Vh  Vi  %  Vi  %  %  Ys  1/.3  %  %  %  -If.  %  Vfi  % 
Size,  .098 

DORIC  No.  1  (7A23)  Size,  .098 

't,^^>UW^\Mh\m 

No.  1  (6AI)  Special  Mo.  5.  Size,  .1107 

AAA 

*8/4?8V2?89478 

No.  1  (7A4)  Size,  .118 

PARAGON  (6A390)  Em  Size,  .1107 

No.  1  (7Al)  Size,  .098 

V\',%V>W%Vh 

%  Vi  ••«  1/2  %  %  %  Va  -/3 

i^hh^W-MWd 

PARAGON  (7Alb4)  Em  Size,  .118 

Ji3i.S3i 

No.  2  (7A21)  Size,  .098 

%%%^'<i%%%%%%%%Sl4i% 

No.  1  (6AI)  Special  No.  3.  Em  Size,  .112 

y8V4%y2%%% 

U%l%U 

VsV4Ys  Vii  %  %  %  ^i.  %  1^  %  %  %  % 

1  -'  a  4  6  fi 

BASKERVILLE  (7A184)  Size,  .100 

No.  16  (7Ab)  Size,  .1187 

77  7777 

A  A  A  i'.-,  A  U  is  is 

1/«1/4?--h!/2V8  3'<i7  8 

's  %  %  V^  %  %  ^i  Vi  %  %  -5  %  *5  Vi  % 

A  A  A  A  A  a  il  H  H  iJ  a  sJ 

No.  28  (7A18)  Em  Size,  .1038 

s-s  s^  s\!  5^  J2  JMS  JS  J5  ie  3^  53  ss  §5  n  U 

V8l4%%%%%%lG 

No.  24  (7A2b)  Size,  .1187 

Vs  M  %  V2  %  %  % 

A  A  8\  B^  A  ii  i!  iJ  11  iS  11 5l  §J 

immmmw:. 

M  ii  ,n  ^i  II  a  n  u  sj  SI  §1  8i  §? 

CASLON  No.  3  (7A154)  Size,  .1107 

BENEDICTINE  (7A104)  Size,  .1245 

No.  1  (6A2)  Size,  .112 

VH'i%V,   -S   %  %   %   %   V5  %  %   %   1..   % 

'/8'4%'/'2%%% 

'8   '4    '8'2'8'4'8 

No.  2  (6A4)  Em  Size,  .112 

CENTURY  EXPANDED  (7A88)  Size,  .1107 

BEr\]EDICTINE  BOOK  (7A110)  Size,  .1245 

Vh  V4  %  V2  %  'J.'t  %  V.^  % 

%  u  ■:•'*  vi  %  %  yg  Vs  %  '..^  %  -v.  %  '/B  % 

's  !4  's  ':  h  '4  ■«  is  '. 

iiUU 

ELECTRA  (7A182)  Size,  .1107 

BODONI  BOLD  (7Al7b)  Size,  .1245 

BOLD  FACE  No.  3  (bA45)  Em  Size,  .140 

Vs'/4y8V'2>ti'/4  78 

'k  /4  %  M  Vh  Vi  Vh 

Vh  V4  %  %  y*  M.  % 

EXCELSIOR  No.  1  (7A140)  Em  Size,  .1107 

1  I  ij :;  .n 

y»Vi%y2  ^8  %  %  %  ^i  %  %  3,,.  1 ,. 

GOTHIC  No.  2  (7A13)  Size,  .126 

ROYAL  GOTHIC  (feA29)  Size,  .154 

113  15  3  7 
8  4  8  2  8  18 

'  8' 4^8/2%  34% 

'A  '/2  3A  '/3  2/3 

EXCELSIOR  No.  2  (7A142)  Em  Size,  .1107 

BOLD  FACE  No.  1  (7A31)  Size,  .154 

%  1/4  %  ¥2  %  %  %  V3  %  %  2/5  %  %  Vg  % 

Vh    V4   %    Vi  Vh    V,    Vh 

6'/2  Point 

11  3.1537 

8  4  8  2  8  4  8 

BOLD  FACE  No.  1  (7A121  Size,  .154 

IONIC  No.  5  (faViAb)  Em  Size,  .1107 

IONIC  No.  5  (7A126)  Em  Size,  .1107 

's    '.     %    !2    ?«    %    % 

i_l  .llJiTJ   2^214  J  5 

\k  14  %  ^i  %  %  %  %  7-,  %  %  ^;,  -"^  i-e  % 

BOLD  FACE  No.  3  (7A27)  Em  Size,  .168 

848284B;i  355550  f. 

V»  Vi:  %  %  -/.i 

113   12 

Special  No.  1  (Casts  on  6  point  body)  Size,  .1107 

Special  No.  1.  Em  Size,  .1107 

Va  'A  %  '/2  %  ^4  ?8 

1   13  1  5  3  7  I  2  i  2  a  4  J  5 
84828-1  833555366 

4   2  4  3  3 

eyi  Point 

No.  2  (7A46)  Size,  .1107 

71/2  Point 

IONIC  No.  5  (b^,4A4)  Size,  .1107 

i;i4%%%-!4% 

PARAGON  (7'/iA20)  Size,  .0622 

(Casts  on  7  point  body) 

No.  21  (7Ab6)  Em  Size,  .1107 

1  1  a  1  .-.  3  7 

8  4   8  2  N  4  .S 

%  14  %%%%%%  % 

1  i  '4  %  !A  %  %  %  %  % 

Special  No.  1.  Em  Size,  .1107 

ii;5iS^^Ani=3i,',;; 

EXCELSIOR  (71  2A8)  Em  Size,  .1245 

^^4%l^%%T8'323ls%%l5?4% 

Special  No.  1.  Size,  .0484 

'8'4';8y2%%?8 

iiiiiJJiiMSMI 

h\VA.\l 

113153712123415 
84828  483355556  6 

959 


One-Letter— 'i  to  \^  Point 


LINOTYPE   FRACTIONS 


71/3  Point,  coiitinuecl 


ION  I 
1, 


C  No.  5  (7V2A4)  Em  Size,  .1245 

1/4  %  1/2  %  %  78  1/3  %  1/5  %  %  %  1/6  % 


8 

i  I  3  15  37 
8  4  8  2  8  4  8 

I       2      3      4       5      6      7      8      9 
101010101010101010 

1       234567891011 

T2 121212121212121212T2 

1       3      5      7       9     111315 
1616161616161616 

1       3      5      7      9     11131517192123 
24242  4  2424  2  424  2  42  4  242424 


8  Point 

METROMEDIUM  No.  2  (8A494)  Size,  .0553 

113  1537 
8482848 

No.  19  (8A13)  Size,  .056 

BOLD  FACE  No.  6  (8A105)  Size,  .0622 

424 

REMINGTON  TYPEWRITER  with  UNDERSCORE 

(8A32)  Size,  .0692 

1/1/3/1/5/ S/Vl/J/l/ 5/ 
/8/4/8/2/8/4/8/3/3/676 

iJA/aA/nA/a/X/x/tiA 

GOTHIC  CONDENSED  No.  2  (8A39) 
Em  Size,  .0968 

.1.lS1.S.37.tJ..tZ_34.15. 
84828483355SSe6 

BASKERVILLE  (8A420)  Em  Size,  .1107 


BODONI  (8A262)  Em  Size,  .1107 
1/8  1/4  %  1/2  %  %  %  1/3  %  1/5  %  %  "/,  1/6  % 


BODONI  BOOK  (8A280)  Em  Size,  .1107 

CAMBRIDGE  (8A22)  Size,  .1107 
CASLON  No.  2  (8A298)  Em  Size,  .1107 

CASLON  No.  3  (8A208)  Em  Size,  .1107 
'/8  Va  %  '/2  %  %  %  '/3  ^3  '/S  ys  %  ys  '/6  % 

I  I  3  1^37  1^12  341S 
8  4  8  2  8'4  8  3  J5  S  S  .'6  6 

CASLON  No.  137  (8A466)  Size,  .1107 

%  %  'A  Vl  78  '/4  %  ^3  ^3  V-,  %  K  %  '/^  Vt 

CASLON  OLD  FACE  (8A312)  Size,  .1107 
Special  No.  1.  Size,  .1107 

y8y4y8y2y8y4%y3y3!/5%y5y5'/6y6 

CENTURY  BOLD  (8A308)  Em  Size,  .1107 

ys  y4  %  Vz  %  %  y*  ys  ya  ys  ys  %  rs  ye  y6 


CHELTENHAM  BOLD  CONDENSED  (8A176) 
Size,  .1107 

CLOISTER  (8A378)  Em  Size,  .1107 

/s  '/4  y8  Vl  'A  'A  'A  'A  V,  A  %  %  A  %  % 


ELZEVIR  No.  3  (8A306)  Em  Size,  .1107 

1131517  1  2  12  3  4  J.5 
845284873555566 

ESTIENNE  (8A446)  Size,  .1107 

'/s'Ays'Ays^Vs 

GARAMOND  (8A372)  Em  Size,  .1107 

li  'A  Vs  Vz  Vs  Va  Vi  Vi  Vi  'A  V,  V,  %  V6  Vg 

JANSON  (8A436)  Em  Size,  .1107 

A  A  A  Vz  'A  A  V,  A  K  A  %  A  A  A  'A 


MEMPHIS  BOLD  (8A448)  Em  Size,  .1107 
Va  y4  Vs  '/2  Vs  y4  '/a  V3  %  1/5  %  Vs  Vs  1/6  Vs 


MEMPHIS  LIGHT  (8A450)  Em  Size,  .1107 

i/8i'4%i/2y8y4y8 

113  1 517 
8TS^¥4?' 

MEMPHIS  MEDIUM  (8A456)  Em  Size,  .1107 
1/8 1/4  %  1/2  5-8  3/4  ya  i/s  y3  Vi  Vi  Vh  Vb  Ve  % 

113  1537 
8^8 2  84 S 

No.  1  (8A98)  Special  No.  2.  Size,  .1107 
No.  21  (8A214)  Size,  .1107 

%  Vi  %  v-2  %  %  %  %  %  y-.  %  %  %  %  % 

OLD  ROMAN  (8A220)  Em  Size,  .1107 
y8'/i3/8'/25/8^/4y8'/32/3'/52/5y5y5'/65/5 
8482558 

OLD  STYLE  No.  3  (8AH6)  Em  Size,  .1107 
^K->^H5/^%?^y35^y^5^3/^^^5^ 


OLD  STYLE  No.  7  (8A212)  Em  Size,  .1107 

%y4y%yMyy»y3y3yi%yyiytH 

J  13  I  5 3  2 14121415 
8482848 JJ 555566 

Special  No.  1.  Size,  .0553 
SCOTCH  No.  2  (8A416)  Em  Size,  .1107 

ys  y4  %  i/i  %  %  78  ys  %  ys  %  %  %  ye  % 

TEXTYPE  (8A396)  Em  Size,  .1107 

y8y4%y2%%%y3%ys%%4/5y6% 


UNIVERSAL  FRACTIONS  (8A362)  Em  Size,  .1107 


_7 R 9  1011 

1212121212 

_7 8 9  101112131415 

leiGiGiGin iGiniGie 

_7 R n  1  01  1 

2424242424 

181920212223 

242424242424 

_G J S  _9_lJ)l^iJi  1_4 

-  -  3  2  3  2  3  2  3  2  .3  2  :i  2  3  2 
222425272829  3  031 
3  2  3  2  3  2  3  2  3  2  3  2  3  2  3  2 

_8 9  101112141  5  1G171920 

G  4  0  4  r,  4  6  4  (i  4  6  4  G  4  G  4  n  4  G  4  G  4 
283031 3 2333435 3G 383040 
G4G4G4G4G4G4G4G4G4G4G4 


tfffff 

12345678 
0  9990099 

T^oirei^i^iMoA 

J_^__3__4..5__g_ 
121212121212 

rGTGTeTGrGrG 

12      3     4 

irr  2  4  2  4  2  4 

5      fi 
24  2  4 

MHilM 

16  17 
2424 

1     2  JL^ 

32  323232 

3  2  32 

1  3  IGl  S19 
3  2  3  2  3  2  3  2 

202  1 
3  2  3  2 

12      3     4      5      7 
0  4  G  4  G  4  G  4  G  4  G  4 

212224252 0  27 
G4C4G4G4G4G4 

G  4  G  4  G  4  G  4 

MH 

4  8  4  9  5  0  5  3  ."■  4  ; 
G  4  G  4  G  4  G  4  i;  4  t 


CASLON  (8A24)  Em  Size,  .112 


CHELTENHAM  (8A12)  Em  Size,  .112 

y8'/4y8!/2HK4^8!/32/3 

1 1 315  3  7 
848  2  84  8 

Special  No.  1.  Size,  .112 

yi>VA%yiyf^y4%yi%V5%y5%V(,y(, 

No.  2  (8A5)  Size,  .112 

OLD  STYLE  No.  1  (8A30)  Size,  .112 

y^yAy&yzy&yy&yiyyiyiH'^ybyt 

Special  No.  1.  Size,  .112 
SCOTCH  (8A82)  Size,  .112 

Vs  A  A  %  Az  %  %  Vs  Mi  %  V5  %  %  %  ye  % 

SCOTCH  (8A42)  Em  Size,  .112 

(High  Alignment) 

Vh  v-i  %  V2%  %  Vh  %%y5%%%y6% 

1*3153712123415 

S4S28483355BG06 

TITLE  No.  1  (8A29)  Em  Size,  .112 

ysy^ysy^ysyAysyiysysysysVs 


CLARENDON  No.  1  (8A91)  Size,  .118 
DeVINNE  (8A118)  Size,  .118 

%  %  %  V2  %  %  %  Va  %  ys  % 

DeVINNE  (8Al8)  Em  Size,  .118 

(High  Alignment) 

ys  Vi  %  y2  %  %  %  ys  %  Vs  %  %  %  %  % 

GOTHIC  No.  3  (8A41)  Size,  .118 
(High  Alignment) 

No.  1  (8A98)  Em  Size,  .118 

ys  y4  %  ¥2  %  %  ys  ya  %  y5  %  %  %  ye  % 

Special  No.  2.  Size,  .1107 

No.  1  (8Al)  Em  Size,  .118 
(High  Alignment) 


.12  3  4  6  0 

tVitj  A  A  A  AA  AA 

AAAAAAAAAMH 

AAAAAIHHI 

A  A  A  A  A  A  A  A  A  M 

JiiSMi^JHtiHSM 

AAAAAHJmHHHH 

3^AAAAJHiJiJyj§i§i§J 

s's  A  f;\  5\  b\  ii  if  Jl  if  si  gf  il  il 

ilg!?l«ifHilililSJiiil 

Special  No.  1.  Size,  .1335 

A  A  A  A  A  \l  \i  \i 

No.  1  (SAIO)  Size,  .118 
(High  Alignment) 

y8y4%y2%%y8 

No.  2  (8A252)  Em  Size,  .118 

ys  y4  %  y2  %  %  ys  ys  % 


No.  2  (8A2)  Em  Size,  .118 

(High  Alignment) 

yg  y4  %  y2  %  %  ys  Vz  %  ys  %  %  ys  ye  % 


960 


LINOTYPE    FRACTIONS 


0 ne -Letter— -^s  to  \^  Point 


8  Point,  vnnitnuvd 

No.  24  (8A100)  Size,  .1187 
No.  28  (8A48)  Em  Size,  .1187 

^4  %  %  1/2  %  %  %  l/i  %  % 

Special  No.  1.  Em  Size,  .1335 
VS  1/4  %  V'2  %  %  78  Yg  % 

ANTIQUE  No.  1  (8A114)  Em  Size,  .1245 

y%  %  Vs  V2  HVaVs  'A  Ys  Vs  VsVsVs  VtVe 


BOOKMAN  (8A470)  Em  Size,  .1245 
Vs  1/4  %  1/2  V&  %  '/8  %  %  Vs  %  3/s  Vs  Ve  5/6 
'  4  i 

454 

CLASSIC  (8A28)  Em  Size,  .1245 
CLOISTER  BOLD  (8A370)  Em  Size,  .1245 

'  8  y4  f  8  ■/  2  ^  8  y4  v» '  3  %  Vs  %  y5  ^5  ye  Ve 

8482848335555  6  6 

ELECTRA  (8A484)  Em  Size,  .1245 


8y4y8y2  5/8y4  78 


'/8 


EXCELSIOR  No.  1  (8A432)  Em  Size,  .1245 

ys  y4  %  y2  %  %  ys  va  %  vs  %  %  %  ye  % 

11315  3  7 

8  4  8  2  8  4  8 

EXCELSIOR  No.  2  (8A444)  Em  Size,  .1245 

y8y4%y2%%y8y3% 

113153712 
8  4  8  2  '84833 

FRANKLIN  OLD  STYLE  (8A316)  Em  Size,  .1245 

_li31537J211J4i5 
8'4H2848J,!55,S5bb 

GARAMOND  BOLD  (8A380)  Em  Size,  .1245 

yg  y.  y8  Vi  ys  y4  Vi  Vi  -a  v-.  y?  y?  ys  y.  % 


GARAMOND  BOLD  No.  3  (8A476)  Em  Size,  .1245 

1/8  y4  ys  1/2  58  -54  y8  Vi  Vi  V5  2/5  y?  vs  ye  ye 


GARAMOND  No.  3  (8A478)  Em  Size,  .1245 
V»  Va  ?  8  Vi  5-8  ^  4  ^  8  !•  ^  ?  3  16  ?4  ?6 1^  Vo  5  ii 

ill  153^121  254 
8482848  3  35  55^ 

GOTHIC  CONDENSED  No.  1  (8A69)  Size,  .1245 

y8y4%y258%% 

IONIC  No.  5  (8A384)  Em  Size,  .1245 

1/8  y4%  y2^8%3'8  y3%  1/5%%%  y6% 

1__13  1  53  7_L212341  5 
84  3  2  84  8'3  3  55  5  566 

PARAGON  (8A464)  Em  Size,  .1245 
Ys  1/4  %  Vo  %  %  7/g  1  Jj  2/3 

113  1537 
848ii83  8 

CENTURY  EXPANDED  (8A26)  Em  Size,  .126 
Vs  y*  %  ¥2  %  %  78  %  Vs  %  %  is  1{>  % 

113153712123415 
848128583355  5  r.  OO 

^iitiri^w;.  iH^iia 

No.  1  (8A1)  Special  No.  1.  Size,  .1335 
(High  Alignment) 
iV  as  A  i^fl  A  iHi  i^ 


No.  16  (8A54)  Em  Size,  .1335 

v«  \i  %  vii  %  %  %  Mi  ^:i  y.  %  %  %  ^<> 

Mo.  28  (8A48)  Special  No.  1.  Em  Size,  .1335 

^M  Vi  %  Mi  %  %  %  %  % 

BENEDICTINE  (8A274)  Em  Size,  .1383 


BENEDICTINE  BOLD  (8A364)  Em  Size,  .1383 


BENEDICTINE  BOOK  (8A360)  Em  Size,  .1383 
'8'4;'8.y5'8^78y3?'iy5:J5y6  5/6 
It 

BODONI  BOLD  (8A222)  Em  Size,  .1383 

Vs  V4  %  ¥i  Vh  %  Vh  Vi  -A  Vo  13  Va  % 

1 1 3  1  .->  3  7  1  a  X  2  a  4  X  r> 

S  4  .S  a  s  1  8  3  3  .'•.  5  5  .-.  <>  0 
CHELTENHAM  BOLD  (8A60)  Em  Size,  .1383 

Vs  V4  %  y^  %  y4  %  ys  ys  ys  rs  v^  % 


GOTHIC  No.  16  (8A260)  Size,  .1483 
Special  No.  2 

Vs  V4  %  V2  5/8  y4  %  ¥3  ys 

MEMPHIS  EXTRA  BOLD  (8A505)  Size,  .1522 
1/8  1/43/8  1/2  5/8  3/4 '/8 

GOTHIC  No.  16  (8A260)  Size,  .166 

Vs  V4  ys  V2  Vs  y4  %  V3  ys 

Special  No.  2.  Size,  .1483 

Vs  V4  Vs  V2  Vs  y4  7/s  Vs  Vs 

POSTER  BODONI  (8A412)  Em  Size,  .166 

V«  Vi  %  V2  %  3/1  %  Vs  %  Vs 


ROYAL  GOTHIC  (8A49)  Size,  .182 
Va  '/4  3/8  Vz  5/83/4% 

9  Point 

PARAGON  (9A156)  Size,  .0692 


GRANJON  (9A142)  Em  Size,  .112 

'/8y4y8/2y8y4%y3y3 


BASKERVILLE  (9A128)  Em  Size,  .1245 

V8  V,  V^V^i?A^iV^\WiV'.-/Wo'A  Wyi 

8  -I  K  2  8  4  8 
BODONI  BOOK  (9A104)  Size,  .1245 

CASLON  (9A18)  Em  Size,  .1245 

wAH'AHyAnyiyiyiyiViysViM 

CASLON  No.  3  (9A130)  Size,  .1245 

v^va%v^%^^8 

CASLON  No.  137  (9A144)  Size,  .1245 

'A  'A  %  yi%%%yiy3'A%%  %  ■;  % 


CASLON  OLD  FACE  (9A82)  Em  Size,  .1245 

l'kyiH!^-:HyA 

1  1  ,i  1  .5  .!  7 
H  4  8  J  8  4  8 

CHELTENHAM  {9A46)  Em  Size,  .1245 
'/8 1/4  ys  Al  y%  %  Ys  !/3  2/3  !/5 

A3  15 37 
882848 

ELZEVIR  No.  3  (9A78)  Size,  .1245 

'iy4-y>iyMy4j^ 

GARAMOND  (9A102)  Size,  .1245 


,'8   /4  78  : 


/b  y4  /h  y3  %  'A  %  y,  v,  %  % 


MEMPHIS  BOLD  (9A148)  Em  Size,  .1245 
ViV^%V2%%%V^%V^%%%V^% 


MEMPHIS  MEDIUM  (9A146)  Em  Size,  .1245 

1/8  y4  ye  1/2  Va  y4  ys  Vs  %  Vt.  %  ys  Vs  Vs  ye 


No.  1  (9A44)  Em  Size,  .1245 

1  131  i;  3712  1234 
.s  1  8  2  8  4  8  :!  :t .?  5  o  5 

No.  21  (9A60)  Size,  .1245 

OLD  STYLE  No.  7  (9A62)  Em  Size,  .1245 

y»y4y%y2%y4yiyyyiyhyiyiysyb% 

i  1115..17i2i_214i.l 
8  4  8  2  8  4  8  .1  J  5  5"  5  '5  6  6 

Special  No.  1.  Size,  .0622 

u  3  1  ssTiaiaaiia 

s  18284  83355550S 

SCOTCH  No.  2  (9A126)  Em  Size,  .1245 

141/1  3/' l/o-%3/,  7/„l/;,2/„l/.2A3/.4,/.l,' 5/. 
/8  /4  /8  /2  /8  /4  /8  /3  /3  /o  /5  /o  /.)  /h  /6 

.S  4  H  2  8  4  3  3  3  D  5  .-.  o  8  e 

TEXTYPE  (9A122)  Em  Size,  .1245 

V8yi%v^%%%viiV^%%%v^% 


UNIVERSAL  FRACTIONS  (9A362) 

Em  Size,  .1245 

1  2  345fi 
7  7  7  7  7  7 
123430.18 
9  a  i)  a  9  9  U  9 

_1 2 a 4 5 6 7 8 9_ 

101010101010101010 

1   2 3 A^J> 0 7_J( 9  1011 

1212121212121212121212 

1   2 3 4 5 B 7 g 9  1011121415 

1  0  1  1;  1  G  1  0  1  1;  1  e  1  0  1  «  1  G  1  1;  1  i;  1  (1  1  1;  1  « 

_1 2 4 r. 7 8  9  11  1  2  1  4  1  .'•)  1  B 

3  2  3  2  3  2  3  2  3  2  3  2  3  2  3  2  3  2  3  2  3  2  3  2 
1819 2 0212 3 2425272829 3 03  1 
32323232  3232323232323  23  2 


DeVINNE  (9A4)  Em  Size,  .126 
V'8^%%%%%V3%Vl5%%V^% 

mmuutuu 

No.  13  C9A28)  Em  Size,  .126 

1 1 3 1 ,5  3  7 

8  18  2  8  4  8 

OLD  STYLE  (9A2)  Em  Size,  .126 

%  y  yiy2H  y  y&  y  y  y  y  y  %  h 

I  1315  3  7 
84  82848 

No.  28  (9A32)  Em  Size,  .1335 
ANTIQUE  No.  1  (9A132)  Size,  .1383 


961 


One-Letter— 4:  to  14!  Point 


LINOTYPE   FRACTIONS 


9  Point,  continued 

BOOKMAN  (9A150)  Size,  .1383 

1/8 1/4  Vs  V2  5/8  Va  %  1/3  %  Vs  Vs  Ve  Ye 

CENTURY  EXPANDED  (9A58)  Em  Size,  .1383 

1/8  ¥4  %  ^2  %  %  Ys  Vz  %  Vs  %  Ve  % 

ELECTRA  (9A160)  Size,  .1383 
1/8  1/ 

EXCELSIOR  (9A134)  Em  Size,  .1383 

Vs  1/4  %  1/2  %  %  Ys  1/3  %  1/5  4/5  Ve  % 


FRANKLIN  OLD  STYLE  (9A84)  Em  Size,  .1383 

iilil  3  71212  4  5. 
8482848.1  .155  5  6 

GARAMOND  BOLD  No.  3  (9A154)  Size,  .1383 

1/8 1/4  %  1/2  3/4  %  1/3  2/3 1/5  3/5  y?  1/6  5/^6 

GARAMOND  No.  3  (9A152)  Size,  .1383 

1/8 1/4  ->'8 1/2  M  %  1/3  2/3 1/5  y?  y?  1/6  % 

IONIC  No.  5  (9A116)  Em  Size,  .1383 
1/8  1/4%  '/2%%y8  1/3%  1/5%  1/6% 


No.  16  (9A12)  Em  Size,  .1483 

y%  1/4  %  1/2  %  %  %  Vs  %  1/6 

BENEDICTINE  (9A90)  Size,  .1522 

Vz  Va  %  Yi  %  Ya  Yz 
M  Vi  Y$  y5Y5%Y(>  Ye 

BENEDICTINE  BOOK  (9A94)  Em  Size,  .1522 

/8  Ya  Ys  Yi  Y&  Ya  /s  H  Yi  YsY^Ye 

11115.37  J  1123415 
8482848JJ5  555(>6 


10  Point 

WlETROMEDIUIVl  No.  2  (10A462)  Size,  .0692 

1 131 537 
"8482848 

OPTICON  (10A468)  Size,  .0761 
_1  1  3  1  5  3  7 
8  4'  8  2  8  4  8 


REMINGTON  TYPEWRITER  with  UNDERSCORE 
(10A272)  Size,  .083 


113.15^3.7^12^1  2^3.4  15. 
848284833  555566 

113. 15.  3.  X  12.  1  2.3.4.15. 
848284833  555566 

UNDERWOOD  TYPEWRITER  with  UNDERSCORE 

(1OA270)  Size,  .0833 

YsVa%V2%'A'AYzYz%%Ys%V,% 


il3_i.53^72^12  34.15. 
848284835  5  5  566 


UNDERWOOD  TYPEWRITER  No.  4  with 
UNDERSCORE  (10A394)  Size,  .0833 

i_I3.i5.3.7.J,2.i 
8482848335 
1^3.1.5.3.7.12.1. 
R  /O.  R  p  R  -a.  R  .-^i  .q  .-^ 


TWO  LINE  No.  18  (10A67)  Size,  .0968 
(Casts  on  12  point  body) 

113  1537 

8482848 

BOLD  FACE  No.  3  (10A94)  Size,  .098 

113153712 

8  4  8  2  8  4  8  7?  3 

Size,  .140 

/8/4/8/2/8/4J8^3/3 

GOTHIC  CONDENSED  No.  2  {10A41) 
Em  Size,  .1107 

'A'AY,y2V,%VzVzVzV,V^Y^%V,% 

1  131 53712123415 
848  28483  35  5  5  566 

CLOISTER  (10A312)    Em  Size,  .1245 

'/s  Va  %  Vi  'A  Ya  %  '/3  %  'A  %  'A  'A  '/6  % 

11311 3 711123411 
848284833  555  566 

ESTIENNE  (10A408)  Size,  .1245 


No.  14  (IOAI66)  Em  Size,  .1335 

y8y4%y2%-y4% 

8482848 
ANTIQUE  No.  1  (10A92)  Em  Size,  .1383 


113 1  S3  7121234  IS 
84828483 3SSS566 

BASKERVILLE  (10A378)  Em  Size,  .1383 

'/8  Ya  3/81/934  7/8I/32/3I/5  3/54/5  i/i-yc 

11315  3  71212  3  4 
8  4  8  2  8  4  8  3  3  5  5  .5  ,5 

BODONI  (10A218)  Em  Size,  .1383 

y8y4y8y2y4y8y3%y%'*/,y6y6 

11115  1112  12 Ills 
8  1  8  2  8  4  8  3  3  .")  5  5  5  6  6 

BODONI  BOOK  (10A250)  Em  Size,  .1383 

y8y4%y2y4y8y3y3M3y5yoyG% 

113.1£ail^l2  3AlS 

S  4  8  2  8  4  8  :?  .3  5  5  5  5  li  (i 

CASLON  No.  2  (10A260)  Em  Size,  ,1383 

>iM^>^^4%>^r3j^^^%-% 

11315  3  712 
8482  8  48J3 

CASLON  No.  3  (10A180)  Em  Size,  .1383 

'/s  y4  ys  Vi  Ya  %  '/3  %  '/s  ys  v^  Vt  Vt 

I I3IS3712I23  4JS 
S  4  8  1  8  4  8  "3  3  S  5  S  S  6  6 

CASLON  No.  137  (10A424)  Em  Size,  .1383 

A  Va  'A  V2  Va  Vs  '/j  A  %  A  A  A  % 

1 > 11112111 
8  4  82848333 

CASLON  OLD  FACE  (10A280)  Size,  .1383 

IHYi 

Special  No.  1.  Size,  .1383 

/8  Va  /8  1/2  Va  /s  1/3  Yi  /5  V,  y,  Vb  Vb 

CENTURY  BOLD  (10A268)  Em  Size,  .1383 

'/8  Va  ys  Vz  Va  %  Vi  Vi  '/s  ys  ys  Vo  'A 

11315  3  7  12 

8  4  8  2  84  833 

CHELTENHAM  BOLD  CONDENSED  (10A148) 
Em  Size,  .1383 


V8y4%y2%y4y8y3% 

1  131  5_3  712123415 
8482 8483 35555 66 


CLASSIC  (10A22)  Em  Size,  .1383 
1/J 


^8l4Ky23/4^8!/32/3!/53/5y5!/65/6 

1131  sail  2121X^15 

8  4  8  2  S  4  8  3  3  5  5  5  5  «  8 


CLOISTER  BOLD  (10A302)  Em  Size,  .1383 

/8 1/4  /8 1/2  y4  ys  1/3  Vi  1/5  Ys  Vs  Ye  Ye 

11115.1712.113.4.15. 
84  8284833555566 

ELECTRA  (10A422)  Em  Size,  .1383 
1/8 1/45/8  l/2y83/478 

11115.17 

84  8  2848 

ELZEVIR  No.  3  (10A274)  Size,  .1383 

3^/4^3^H%%3^/4 

EXCELSIOR  (10A386)  Em  Size,  .1383 
1/31/4%  1/2%%  7/8 

113 153  712 
848284833 

GARAMOND  (10A304)  Em  Size,  .1383 

Vz  Va  Yz  V2  Ya  Yz  /3  y3  Vs  Y  Vs  Y(.  Ye 


GARAMOND  BOLD  No.  3  (10A436) 
Em  Size,  .1383 

1/8 1/4  Ys  1/2  %  Yb  1/3  2/3 1/5  3/5  ys  1/6  5/6 

11115.17 
8482848 

GARAMOND  No.  3  (10A440)  Em  Size,  .1383 

1/8 1/4  /s  1/2  Va  Y8  1/3  y3 1/5  ys  ys  Y(.  v^ 


JANSON  (10A388)  Em  Size,  .1383 

/8  Va  a  Vz  Va  %  V,  A  A  A  y  A  % 

113111211111411 
84  8  284833555566 


MEMPHIS  BOLD  (10A412)  Em  Size,  .1383 

i/s  1/4  %  1/2  y4  Ys  1/3  2/3 1/5  %  Vs  i/e  5/6 

J  1315 3 7 
8  4  8  2  8  4  8 

MEMPHIS  LIGHT  (10A414)  Em  Size,  .1383 
1/8  1/4%  1/2%  3/4%  1/3  2/3 

113153 7 
8  4  H  2  8  4  8' 

MEMPHIS  MEDIUM  (10A418)  Em  Size,  .1383 
l/s  1/4  %  1/2  3/4  Yi  1/3  2/3  1/5  %  Vs  1/6  % 

11315 37 
8  4  8  2  8  48 

NARCISS  (10A123)  Size,  .1383 

ys*/4%^y8%% 

No.  1  (lOAlO)  Special  No.  1.  Em  Size,  .1383 

y8y4%y2y4y8y3%y5%%yG% 

113153  1121.2  3.^1.5 
848  284833555566 

No.  9  (10A20)  Em  Size,  .1383 

y8y4%y2%y4y8 

113  1  5iiX  1  2.12  3  A15 
8  4  8  2  8  4  8  3  3  5  5  5  5  (>  6 

No.  21  (IOAI86)  Size,  .1383 

ysy4%y2y4y8y3y3y5%y5y6% 

OLD  ROMAN  (10A192)  Em  Size,  .1383 

yf,y4y%yiyMY3y3V5y5%Yi,yt 

113 153712 
848  284833 


962 


LINOTYPE    FRACTIONS 


One-Letter— \  to  14  Point 


10  Point.  (*oiifiiiiic>cI 

OLD  STYLE  No.  7  (10A184)  Em  Size,  .1383 

113  1  5  3  71  2  J  2.3  415 
8  4  H  2  8  4  8  3  3  5  5  5  5  6  6 

Special  No.  1.  Size,  .0692 

li:il5:!X 
8  4  K  2  8  4  8 

ORIGINAL  OLD  STYLE  (10A4)  Em  Size,  .1383 

8  4  8  2  8  4  8  a  M  .->  r, .-. .-)  i;  c, 

PABST  EXTRA  BOLD  CONDENSED  (lOAllO) 
Em  Size,  .1381 

1  131537 

84S'2S4~S 

PABST  OLD  STYLE  (10A194)  Size,  .1383 

SCOTCH  No.  2  (10A374)  Em  Size,  .1383 

J13 1 53 712 

8  4  8  2  8  4  S  .'i  .3 

TEXTYPE  (10A324)  Em  Size,  .1383 
VS  1/4  %  1/2  %  %  VS  %  1/5  %  4/5  1/c  5/6 

113  1.3  1  2  1  234  1  .5 
8  4  8  2  4  3  3  5  5  5  5  6  6 

TITLE  No.  7  (10A178)  Em  Size,  .1383 
V8'A%V2%VsV3W/,%V5VbV6 

113  1537 
8482848 

UNILINE  (10A104)  Size,  .1383 

UNIVERSAL  FRACTIONS  (10A362) 
Em  Size,  .1383 
12  3.-t5fi 
777777 
12345.6.18 
i)  !)  9  9  y  9  !)  9 

_1 2 3 4 5 6 7 8 ?L 

1  0  10  1  (11  0  1  0  1  0  1  0  1  0  1  0 

J 2 3 4 5 6 7 K !)    10  11 

"12  12121212121212  121212 

J 2 3 4__5 U 7 8 9_1_01J21_4  IJ) 

IGKilGlGKiKilUlGlOlGllilClO 

_! 2 :! 4 (j 7 8 n  10  1112 

24242424242424  2  424  2  424 
UiXlUiliiiHiHii 2J  2  2  2  .3 
24242  42  4  24242  42  4  2424 

J 2 3 4 5 fi 7 8 9    10 

3  2  3  2  3  2  3  2  3  2  3  2  3  2  3  2  3  2  3  2 
111213141  5  1(517181  9  20 
3  2  3  2  3  2  3  2  3  2  3  2  .3  2  3  2  3  2  3  2 
2_1  2  2  2  4  2  5  2  fi  2  7  2  8  2  9  .3  0  3J 
3  2  3  2  3  2  3  2  3  2  3  2  3  2  3  2  .3  2  ,3  2 

J 2 3 4 5 (j 7 8 0    10  1112 

(;  4  C  4  0  4  (3  4  G  4  (i  4  (i  4  (i  4  (i  4  (1  4  (;  4  (5  4 

I  3  1  4  1  .')  1  (i  1  7  1  8  1  9  2  O  2  1  2  2  2  3  2  4 
1;  4  (j  4  U  4  G  4  G  4  G  4  G  4  G  4  i;  4  G  4  (!  4  (!  4 
25  2_G  2_7  28  2J>  .3_n  3_L  3_2  3^  3_4  3^  .3  G  3  7 
G  4  G  4  G  4  G  4'  G  4  G  4  G  4  G  4  G  4  G  4  G  4  G  4  G  4 
3_8  3i)  4J14142  43  4  4  4  5  4  G  4  7  4  8  4  9  5  0 
(i  4  G  4  i;  4  G  4  G  f  G  4  (J  4  G  4  G  4  G  4  G  4  I!  4  G  4 
5J.  5J!  53. 5^4  5Ji  5_G  5  7  5  8  5  9  0  0  G  1  G  2  G  3 
i;  4  G  4  (i  4  (i  4  G  4  (J  4  V,  4  G  4  G  4  G  4  G  4  G  4  (;  4 

BOLD  FACE  No.  3  (10Aq4)  Size,  .140 

/8/4 /8/ 29874 >8/373 

Size,  .098 

II  SI  5  371    2 
8  4  H  2  8  4  8  ';$  ;{ 

CASLON  (10A8)  Em  Size,  .140 

113 1  5  3  7  LI j  2 3 415 
8  4  8  2  8  4  8  3  3  5  5  5  S  b  (> 


CLARENDON  No.  1  (10A25)  Em  Size,  .140 

1/81/4%%%% 

1 
2 

DeVINNE  (10A24)  Em  Size,  .140 

%^%%%%Mi%%%%V(;% 

113  1.5  311  2  1  2  3i  1  5 
8  4  8  2  S  4  8  3  3"  5  5  .')  5  G  (i 

No.  6  (10A14)  Size,  .140 

%i4%%^^%% 

OLD  STYLE  No.  1  (10A6)  Em  Size,  .140 

'A'AH'AVAHyi-A  Vs  Vs  Vs  '/<>  % 

113  1  5.3  712113  41 
8  4  8  2  8  4  8  3  3  5  5  5  5  6 

Special  No.  1.  Size,  .140 

AVaVMVMVM 

SCOTCH  (10A36)  Em  Size,  .140 


s  74 


%%%%Mi%%%%l4i^ 


L  1  3  153712  1  2  3i 1  5 
8  4  8  2  8  4  8  3  3  5  5  .3  5  G  G 


TITLE  No.  2  (10A40)  Size,  .140 


\lo.  16  <10A48)  Em  Size,  .1483 
1  (.,  1/,  ."!/,  1/,  3/.  7/  1/,  2/,  1 L  4  -:  1 /.  5/, 

/s  /4  /K  /2  /4  /s  /:$  /;{  /i)  /.>  /()  /<3 


1  J   .3  1  5  3  7  1  2. 1 

8  4  8  2  8  4  8  .3  3  5 


No.  28  (10A54)  Em  Size,  .1483 
1/8  14%  1/2%%% 

113  15  3112  J  2  3  4  15 

8  4  8  2  8  4  8  3  .3'  5  5  5  5  G  G 

BOOKMAN  (10A428)  Em  Size,  .1522 

1/8  1/4  ys  1/2  %  %  1/3  %  1/5  %  1/6  % 

1113 

8  4  2  4 

CONDENSED  OUTLINE  (lOAlOl)  Size,  .1522 


'4  yS  72 '7874  78 
GARAMOND  BOLD  (10A314)  Em  Size,  .1522 
/8  '/4  %  72  y4  %  1/3  %  75  y5  76  Ve 


IONIC  No.  5  (10A390)  Em  Size,  .1522 
1/8  1/4%  1/2%%%% 


No.  5  (10A2)  Em  Size,  .1522 

%U%V^%%% 

11315  3X1 -21  2  3il  5 

8  4  S  2  8  4  8  3  3  5  5  5  5  G  G 

CENTURY  EXPANDED  (lOAlfc)  Em  Size,  .154 

%7t.%%%%M5%%%%^ 

113  1  r.XJ  71212  3115 
li  4  ii  2  8  t  H  3  3  5  S  5  5  (i  (i 

CHELTENHAM  (10A18)  Em  Size.  .154 

113  15  3  7 
8  4"  8  2  8  4  8 

BENEDICTINE  (10A240)  Em  Size,  .166 

1  o  ^/a   K  'o  Vo   5  1    7'   I,,  2/ 
/  8  /4  /  8  /  2  /8  ,4  /  8  /  3  /  3 

113   1  .5  3  i  1  2  1  2  3  4.  1  5 
8  4  8  2  8  4  8   3  .3  5  5  5  5  (J  (i 

BENEDICTINE  BOLD  (10A296)  Em  Size,  .166 

%!4%J2%^^ 

11315  3  7 

8  4  8  2  8  4  8 


BENEDICTINE  BOOK  (10A292)  Size,  .166 

%  Va  Vs  Vi  %  ^4  % 

H  %  K5  2^  %  )^  !/6  5/6 

BODONI  BOLD  (10A196)  Em  Size,  .166 

Vh'/i%K>%M% 

1  I. :{  I  r> :{  7  1  2  1  2  :s  4  I  ."> 

S  4  8  2  8  4  8  :S  a  5  5  .->  '5  (i  <> 

CHELTENHAM  BOLD  (10A61)  Size,  .166 

l/8l/4%l/2%%% 
CHELTENHAM  BOLD  (10A82)  Lm  Size,  .166 

78  74  %  72  %  y4  %  Va  %  % 

1  _1  3  1  5  3  7 

8  4'  8  2  8  4  8 

GOTHIC  CONDENSED  No.  1  (10A69)  Size,  .166 

7874%  72%%% 
METROBLACK  No.  2  (10A153)  Size,  .166 


PABST  EXTRA  BOLD  (10A320I  Em  Size,  .166 

»/8  74  %8  Vz  Vs  3/4  %8  73  %  Vs  ^6 

113  15  37  12, 

~8  4  8  2  8  4  8  3  3 

VULCAN  BOLD  (10A360)  Size,  .166 
78  74  ¥8  1/2  %8  %  %  73  2/3 

GOTHIC  No.  3  (10A43)  Size,  .168 
78  74%%  78 

GOTHIC  No.  16  (10A224)  Em  Size,  .1937 

%    74   %   72   %   %   %   73  % 

J131537J2 
8"  4   8   2  8  4   8   3'  3 

GOTHIC  No.  16  (10A139)  Size,  .1937 

78  74  %  72  %  %  %  73 

MEMPHIS  EXTRA  BOLD  (10A444)  Em  Size,. 1937 

78   74   %8  72  5/8  %4  %  73  2/3 

1 
2 

POSTER  BODONI  (10A326)  Em  Size,  .1937 

7«  7f  %  72  %  7/8  V:J  2/j  1/5 
X  1  a  I  .-i  3.  7  J  2 
8  4  «  a  it  4  «  :» :« 


10 1/2  Point 


OLD  STYLE  No.  7  (10'.2A2)  Size,  .1383 
(Casts  on  10  point  body) 


AAA^iA^aA 


11  Point 

BOLD  FACE  No.  3  (llA)O)  Size,  .105 
XI 315371 
8X8  2  8X8  3" 

Size,  .154 

GRANJON  (11A102)  Em  Size,  .1245 

'8'4?8V2%54%V^7iV^34^4^^!^% 

113  1^3  7111114  1 1 
84X2S48 J  35  55  566 

CLOISTER  (11A98)  Em  Size,  .1314 

1/  1/  3     1/  5/  3/  7/  1/  2/ 
/8  /4     8  ,2  /8  /4/8  /3  /i 

1  111 IZ 

84  8  2  88 


963 


One-Letter— 4^  to  14  Point 


LINOTYPE   FRACTIONS 


1 1  Point,  continued 

BASKERVILLE  (llAllb)  Em  Size,  .1522 

l/gl/^  3/81/23/47/81/32/31/54/5145/. 

113153.111 
848284833 

CASLON  No.  2  (llAllZ)  Em  Size,  .1522 

113.1112 
8482848 

CASLON  No.  137  (IIA122)  Em  Size,  .1522 

Ys  %  %  Vi  %  %  1/3  %  %  %  Vt  'A 
1111111 

8482848 

CASLON  OLD  FACE  (11A76)  Size,  .1522 


CHELTENHAM  (11A48)  Em  Size,  .1522 

11315  3  7 
84  8  2848 

ELECTRA  (11A124)  Size,  .1522 

1/8  1/4  5/8  Vl  5/8  5/4  78 1/3  2/^ 
ELZEVIR  No.  3  (11A74)  Size,  .1522 

EXCELSIOR  (11A120)  Em  Size,  .1522 

113.15.2l1 

848  2848 

GARAMOND  (11A96)  Em  Size,  .1522 

y8y4ysyzy4VsyyAysysV6V6 

113.15121 
8482S48.T 

GARAMOND  BOLD  No.  3  (11A130)  Size,  .1522 

1/8 1/4  3/8 1/2  ¥4  VS 1/3  Vi  1/5  VS  1/6  5/6 

GARAMOND  No.  3  (11A126)  Size,  .1522 

1/8  1/4  3/8  1/2  34  /8  1/3  2/3  1/5  4/5  1/6  5/, 
JANSON  (IIAII8)  Em  Size,  .1522 

Ys  /4  %  /z  %  %  !/3  %  '/  %  Ye  Yo 

iilill7i2i234ii 
848284833555556 

No.  21  (11A56)  Size,  .1522 

y8y4%y2%VsV3%y5%yiiye 

OLD  STYLE  No.  7  (11A58)  Em  Size,  .1522 

113113  7121214.15. 
84828483  3555566 

Special  No.  1.  Size,  .0761 
11315.3  7 
848  2848 

SCOTCH  No.  2  (llAllO)  Em  Size,  .1522 

^o  7o  /6 

11315a712 

848  2  8  48  3S 


y8y4%y2%%y3%i/-^^/^i^-5'^ 


UNIVERSAL  FRACTIONS  (11A362) 
Em  Size,  .1522 
12.3.4  5  6 
7  7  7  7  7  7 
12345.6.18 
!)  9  !)  y  9  9  9  9 

_1 2 3 4 5 6 7 8 gL 

101 0  1010101 0  101010 

_1 2 3 4 5 6 7 8 9    10  11 

1212121212121212121212 

_1 3 5 7 9_ 

1616161616 

_1 2 3    1  5 

323232  3  2 


BOLD  FACE  No.  3  (11A40)  Size,  .154 

Ml/04  ^^% 

Size,  .105 
113X53  7  Jt 

8  J:   8  2S""J:'8"3' 

DeVINNE  (11A14)  Em  Size,  .154 

y8y4%y2y4%y5%y5%y6% 

113  1  sail  2.12  3i.li 
8482848 3 3. 5  55566 

DORIC  No.  2  (11A19)  Size,  .154 

^ku%y2%%% 

No.  1  (11A2)  Em  Size,  .154 

y8y4%y2%y4'/8y3% 

113143  71212  3A1  .5 
8  4  8  2  8  4  8  3  3  5  5  o  5  (!  6 

OLD  STYLE  No.  1  (11A4)  Em  Size,  .154 


111 
488 


^/5%3/^^K 


SCOTCH  (llAlO)  Em  Size,  .154 

y8y4%y2-y4y8y3%y5y5y6% 

1  1315^11212 3il  n 
8  4  S  2  8  48  .3.3  5  5  5  5  II  (1 

CENTURY  EXPANDED  (11A104)  Size,  .166 

y8y4%y2%y4% 
y3%y5%%%y6% 

CHELTENHAM  BOLD  (11A106)  Size,  .166 

y8y4y8y2%y4% 
ya^ysysysysyeye 

CASLON  (11A12)  Em  Size,  .168 

yysysysysysyye 

11111111 2 111 All 

84828483355  5  566 

Special  No.  1.  Size,  .084 

113153X12. 1.2  a  4l1  5 
848284833555566 

GOTHIC  CONDENSED  No.  1  (11A17) 
Em  Size,  .168 

y8y4y8y2y8y4y8 

11115 3 11112 3  4  15 
848284833555566 

TWO  LINE  (IIA23)  Em  Size,  .168 


>^^%K 


%^{i^yi 
iiji 

4  2  4 

BENEDIJTINE  (11A84)  Size,  .1798 

Ys  14  Ys  Yi  Yz  y4  Y% 

BENEDICTINE  BOOK  (IIA88)  Em  Size,  .1798 


Ya'A 


Yi'A 


Yli 


^3  Vl  Y5  ¥5  Y5  %  Ye  Ye 


111 J  311 

8  4  8  2  8  4  8 

BOOKMAN  (11A132)  Em  Size,  .1798 

Vs  y4  ys  y2  ys  y*  ys 
Vz  Vz  1/5  2/5  ys  ys  Ve  ye 


DORIC  No.  1  with  BOLD  FACE  ITALIC  No.  4 

(11A42)  Em  Size,  .2077 

ys  M  %  Vx  M  %  ys  M; 

113  15  3  7  12  1  2  3  4  15 
84S2S48335555e6 


111/2  Point 

CASLON  OLD  FACE  (IIV2A4)  Em  Size,  .1522 


1111111 
8482848 

SCOTCH  (11V2A2)  Size,  .1632 
(Casts  on  11  point  body) 

ys  y4  ys  y2  y4  ys  ys  %  y^  %  ye 


12  Point 

METROMEDIUM  No.  2  (12A464)  Size,  .083 
1  1315_3  7 
8482848 

REMINGTON  TYPEWRITER  with  Underscore 
(12A202)  Size,  .0968 


1111.5111112.3.4.1.5. 
848284833555566 

11115.11111114^5. 
B4R3R4.8.T.-^.'SSFiFifiR 


REMINGTON  TYPEWRITER  No.  4  with 
Underscore  (12A370)  Size,  .100 

424 

J.1.3. 
4- P.  4- 

STENOGRAF  TYPEWRITER  (12A37)  Size,  .100 


UNDERWOOD  TYPEWRITER  with  Underscore 
(I2A2OO)  Size,  .100 


1  .L  3  J   5  3  7 
8  4  8  2  8  4  ff 

.1..1..3..1.A.3.7. 

8  4  8  2  8  4   8 


UNDERWOOD  TYPEWRITER  No.  2  with 
Underscore  (12A264)  Size,  .100 

y^y%y2%%y^ 


y^y^y^y-^viy^y^ 


DeVINNE  EXTRA  CONDENSED  (12A73) 
Size,  .1107 


BOLD  FACE  No.  1  (12A25)  Size,  .112 

JL13 
4  24 

Size,  .168 

V%VMVIYM% 


CHELTENHAM  BOLD  EXTRA  CONDENSED 

(12A77)  Size,  .1383 


y8y4y8y2y8y4y8 


CLOISTER  (12A284)  Em  Size,  .1383 

y8/4y8yy4/8/3y3yy5y/6y6 

11111111112 3  411 
848284833555566 

GOTHIC  CONDENSED  No.  2  (12A17) 
Em  Size,  .1383 

y8y4y8y2y8y4y8 

1  13153712123415 
8  482  848  3"3"55-55  6  6 


964 


LINOTYPE    FRACTIONS 

One-Letter— A<  to  14^  Point 

1 3  Point,  continued 

DeVINNE  CONDENSED  (12A21)  Size,  .166 

NARCISS  (12A127)  Size,  .166 

ANTIQUE  No.  1  (12A68)  Em  Size,  .166 

'/8'/4y8y2y8y4y8 

%yA%V2y6y4y% 

ykyAVsYzysVAVs 

ELECTRA  (12A384)  Em  Size,  .166 

No.  21  (12A262)  Size,  .166 

VzVzV^-'AVsVsV^V^ 

y8y4y8i/2y8y4y8 

Vsy4%y2ys-yys 

1131537 
8482848 

113  15  3  7 

84S2848 

yi%yo-/rK-,%y;% 

BASKERVILLE  (12A314)  Em  Size,  .166 

ELZEVIR  No.  3  (12A224)  Size,  .166 

No.  1  (12A2)  Special  Mo.  1.  Em  Size,  .166 

/8l43/8l/25/8^K;% 

yyYy2%yyy?,y 

ysy4'ysy-ys-'/4ys 

/32/3/52/53/54/5I/65/6 

ESTIENNE  (12A380)  Em  Size,  .166 

y5%y^%%%y;% 

1  1  3  1  .'■)  3  7  1  2 

8  4  8  2  8  4  S  3  3 

/8/4y8/-y8Ky8/3y3 

113153712123415 

8  182848  3  3555  5  (T(i 

II315371212341'5 

BODONI  (12A160)  Em  Size,  .166 

848284  83355556  6 

OLD  ROMAN  (12.A128)  Em  Size,  .166 

^8 1/4%  1/2%  ¥4% 

GARAMOND  (12A278)  Em  Size,  .166 

y8y4y872y8%y8 

i/3%%y5y5y5i/>y6 

/8y4y8/2y8y4y8 

YiViY-y-yy'yoyoyi.y^ 

1 1 3 1  .'■>  3  7 1 2 1 2 .-?  4 1 5 

8  4  8  2  8  4  8  3  3  5  5  5  5  6  6 

y3y3yy5y5y5/6y6 

I   I3I537I2I234I  5 

113153712 
848284833 

BODONI  BOOK  (12AI86)  Em  Size,  .166 

848284533TS5f66 

OLD  STYLE  No.  3  (12A96)  Em  Size,  .166 

\  8  /A  78  72  7.S  7A  /« 
1  1315371 2123415 

y8y4ysyL>%y4% 

GARAMOND  BOLD  No.  3  (12A452) 
Em  Size,  .166 

y3%y-.%%y5y>% 

y8y4y8y2y8-My8 

8482848335555TJ6 

1 1315D 7 1212  34  15 

OLD  STYLE  No.  7  (12A190)  Em  Size,  .166- 

R4'g2  8  4  8;}:l5555(5(T 

V5V5V5V5y^V5VGy6 

^8  7+^87^^:7;  78 

CASLON  No.  2  (12A74)  Em  Size,  .166 

113   15    3   7 

H  4    8  2   8  4   8 

GARAMOND  No.  3  (12A454)  Em  Size,  .166 

113153712123415 

11315:3  7  12123 

8  4  8  2  8  4  8  3  3  5  5  5  5  6  6 

H4H 28483355 5 

1/8 1/4  ys  1/2  ys  3/4  78 

1      3     5     7     9    1113  15 
1616161616161616 

CASLON  No.  3  (12A120)  Em  Size,  .166 

1/3  y3 1/5  2/5  y?  4/5 1/6  y6 

Special  No.  1.  Size,  .083 

y8y4y8y2y8y4y8y3y3 

1  I  3  1  s  3  7  1  2 1 

iiiiiiiii 

848284833 

imm 

84  8  2  8483  36 

GOTHIC  No.  18  {12A65)  Em  Size,  .166 

PABST  EXTRA  BOLD  CONDENSED  (12A382> 
Em  Size,  .166 

y8y4y8y2y8y4y8 

1  13153712 

CASLON  No.  137  (12A440)  Size,  .166 
/S  %  ^8  Vz  %  %  % 

78  74  ys  72  78  74  78 

1  13  15  3  7.1. 
84828483 

/3  y  K  %  ^3  y.  %  % 

IONIC  No.  5  (12A320)  Em  Size,  .166 

848284833 

PABST  OLD  STYLE  (12A130)  Em  Size,  .166 

CASLON  OLD  FACE  (12A236)  Size,  .166 

y^yAY^yMYAy^yzyi 

78  74%  1/2%%% 

y8y4y8y2y8y4y8y3 

73%  75%%  4/5  76% 

113  1537 

Special  No.  1.  Size,  .166 

11_3  1  53  7 

8482848 

1/8  '74^8  1/2  78  5/4  7/8 

8482848 

SCOTCH  No.  2  (12A374)  Em  Size,  .166 

/3  2/3  /^y^^y^  1/6  76 

JANSON  (12A318)  Em  Size,  .166 

78  1/4  78  72  78  74  78 

73  73   1/5   75  y  y  1/6  76 
I   1   3  1  5  3  7 

ysy4%y2y8-y4y8 

CENTURY  BOLD  (12A198)  Em  Size,  .166 

y3%%%%%M;% 

'/8y4y8y2y8y4y8 

1 1315  3  7 

Sis  2  848 

y,  y,  Vb  ys  %  %  v,  % 

8  4  8  2  8  4  8 

TEXTYPE  (12A324)  Em  Size,  .166 

1131537.11 

MEMPHIS  BOLD  (12A388)  Em  Size,  .166 

78  74%  72%%% 

848284833 

78  74%72y8y4y8 

73%  75%%%  76% 
113  1537 

CHELTENHAM  BOLD  CONDENSED  (12A98) 
Em  Size,  .166 

73%75y5y5y5y6y6 

y8y4y8y2y8y4y8y3y3 

113  1537 
8482848 

8  4  g  2  8  4  8 

TITLE  No.  2  (12A60)  Size,  .166 

1131537121234  15 

8  4  8  2  848  335555  66 

MEMPHIS  LIGHT  (12A390)  Em  Size,  .166 

y874y8y2y8y:4y8 

CLOISTER  BOLD  (12A276)  Em  Size,  .166 

78  74y8  72y8y4y8 

TITLE  No.  7  (12A124)  Em  Size,  .lob 

y8y4y8y2y8y4y8 

113153712315 
8  4  8  2  8  4  8  5  5  5  6  6 

y4y8y2y3y3y5y5y5y5y6y6 

V3ViV5y5'Ay5V6y6 

MEMPHIS  MEDIUM  (12A398)  Em  Size,  .166 

1  13  15  3  7 
8482848 

113153712123415. 
8482848335  55566 

78  74  %  72  ye  y4  78 

UNILINE  (12A100)  Em  Size,  .166 

DeVINNE  (12A14)  Special  No.  1.  Size,  .166 

73y3  75y5y5y5  76y6 

y3y3y5y5y5y5y6y6 

1      3     5     7      9    11131  5 

113  15  37 

12123415 

iGl  (;i()l(Jl(Jl  (JlGlfi 

8482848 

33555  5G6 

965 


One-Letter— 4!  to  14<  Point 


LINOTYPE   FRACTIONS 


12  Point,  ooiifiniied 

UNIVERSAL  FRACTIONS  (12A362) 

Em  Size,  .166 
12.345  G 
7  7  7777 
12345.618 
9  9  9  9  9  9  9  9 

_1 2 3_^_-5 7 8 9_ 

1010101010  1010  10 

12345678 


12 

1 

IG 


12  12 
2  3 


12  12 
4  5 


1  G 

1 
24 
]  1 
24 

1 
32 

1  1 
32 

2  2 
3lZ 

1 
64 

1  3 
64 

2  7 
64 
40 
64 
5  3 
64 


16  16 

9  ]  0 

16  16 

2  3 


1616 
1112 
1616 
4  5 


121212 

_6 L 

16  16 
3  3  14  15 


16  16  16 

6  7   8 


2424 

12  13 

2424 

2  3 


2424 
1  5  1  G 
2424 
4  5 


2  4  2  4  2  4 
17  1922 
242424 

6  7   8 


3232 
1213 
32  32 
2  3  2  4 
32  32 
2   3 


3232 
1415 
3232 
2  5  2  6 
32  32 
4  5 


3  2  3  2  3  2 
16  17  19 
323232 

2  72  829 

3  2  3  2  3  2 
G   7   8 


(i4G4 
1415 
6464 

2  S  2  9 


6464 
17  19 
64  64 
3  13  2 


64G4 
4142 
64  6  4 
5  4  5  5 
64  64 


6464 
4344 
6464 
56  5  7 
C  4  G  4 


6  4  6  4  6  4 
202  122 
6  4  6  4  (i  4 

3  3  3  4  3  5 
646464 

4  5  4  7  4  8 
646464 

5  8  6  0  6  1 
646464 


9  1011 
12  12  12 


1  0 
24 

2  3 
24 

9  10 
3232 
202  1 
3232 

3  0  3  1 
3232 

9  1112 
6  4  6  4  6  4 

2  4  2  5  2  G 
646464 

3  6  3  8  3  9 
(i  4  6  4  6  4 

4  9  5  0  5  2 
6  4  6  4  6  4 
G  2  6  3 
6464 


ANTIQUE  CONDENSED  (12A51)  Em  Size,  .168 

11115  3  11212  34  15. 
848284833555566 

BOLD  FACE  No.  1  (12A25)  Size,  .168 

Size,  .112 
4  24 

CASLON  (12A12)  Em  Size,  .168 


113.113212111411 
848284833555566 

CHELTENHAM  (12A18)  Em  Size,  .168 

!/8!/4y8!/25/8y478 

11 3153  71 2  123415 
8  4  8  2  8  4  8  33"  55  5566 

CLARENDON  No.  1  (12A5)  Size,  .168 
CONDENSED  TITLE  No.  1  (12A7)  Size,  .168 
DeVINNE  (12A14)  Em  Size,  .168 

y8y4%M>%3/4y8 
M3%y5%%%yG% 

113153  71 212  3415 
84828483  3555566 
123456 

7  7  777T 

JL_  3  4 
121212 

_1  _3 5__7_  9  111  315 

1^161616TW16T^16 


DeVINNE  (12A14)  Em  Size,  .168  (Continued) 

\^_J> 1 .<L1  113 

3  2  3  2  3  2  3  2  3  2  3  2  3  2 

15.1  7192  12  32527 
3  23  23  23  23  23  23  2 

Special  No.  1.  Size,  .166 

1     3  _5     7_9   111315 
1  6  1 B 1  eTE^TFT^T^T^ 

No.  1  (12A2)  Em  Size,  .168 

ysy4%y2%y4y8 
y3%y->%%y5yi% 

1131511712123415 

848^848  33  555  5^6 

Special  No.  1.  Em  Size,  .166 

V«yi3/ol/>5/o3/,7/ 


^874^ 


/2787478 


y3%y3%%y5y;% 


Iiai51i7_12123.41i 
¥48  2  848  3U5  5  5  5?( 


OLD  STYLE  No.  1  (12A4)  Size,  .168 


SCOTCH  {12A10)  Em  Size,  .168 

y8y4%i/i>%%y8 
y3%^/f>%%%y;% 

1111153  7  12123415 
8  4t^H4  8 355^55^6 

No.  16  (12A40)  Em  Size,  .178 

y8y4%y2%y4ysy3% 

1 131537 1 2123415 
8  1  8  2  8  4  8  3  3  "5  5  5  5  6  6 


CHELTENHAM  BOLD  (12A46)  Em  Size,  .1798 

y8y4y8y2y8y4y8 

y^y^y^y^y^y^y^u 

11  3  1  5  3  _7  1  _2  12  3  4  1  5 
8  4  8  2  8  4  8  3  3  5  5  5  5  6  6 

CONDENSED  OUTLINE  (12A69)  Size,  .1798 

11/4  D 


V2 


'4V%y2 


CLASSIC  (12A20)  Em  Size,  .180 

Ks '74^8/2  5/8%  7/8 

73^3 /5/5/5/5/6/6 

1131537  121234 15 

8  4  8  2  8  4  8  3"  3  5  5  5  5  '6  6 

CENTURY  EXPANDED  (12A22)  Em  Size,  .182 

y8y4%y2%y4y8 
y3%y5%%y.%% 

11315117  1212  34  1  5 

84  8  2545^3  3  5  5  0  0^6 


CHELTENHAM  BOLD  (12A27)  Size,  .182 

y8y4y8y2y8y4y8 


GOTHIC  CONDENSED  No.  1  (12A13) 
Em  Size,  .182 


'/4y8y2y8y4y8 


ys^ 

y^yzy^y^y^y^y^ys 

1_  1  3 15.  3  7.1  2. 1  2.  3  4  1  5 
"8  4  8  2  8  4'8  3  3  5  5  5  5  6  6 


BENEDICTINE  (12A176)  Em  Size,  .1937 

/S  Va  %  Vl  /s  Va  /s  /3  /3 

111115117  1212  3  11  5 
8  48^8  4533  5555^6 

BENEDICTINE  BOLD  (12A260)  Em  Size,  .1937 

/S  1/4/8/2/8  5/^/8/3 

113.15  3  7 

8482848 

BENEDICTINE  BOOK  (12A258)  Size,  .1937 

/8  /  /S  Vl  %  Ya  /s 
A  2/  /  /  /5  >^  /  % 

BODONl  BOLD  {12A132)  Em  Size,  .1937 

VsMysyz'Ys'HVH 

113 15  3  712  123415 
84  8  284  83  3  55  5  56© 

BOOKMAN  (12A444)  Em  Size,  .1937 

Vs  Va  Va  Vz  Va  Va  Vs 
V3  %  Vs  2/5  Vs  Vs  Ve  Ve 

113   15  3  7 
8  4  8  2  8  4  8 


DeVINNE  OUTLINE  (12A108)  Em  Size,  .1937 

%V2%¥My8 
vPA^VByE¥ByEV^% 

U  3  B  J.  J_712 
8  48  284  8  3  3 

GARAIVIOND  BOLD  (12A286)  Em  Size,  .1937 

78/4/8/2/8/4/8 

/3/3/5/5/5y5/6/6 

I  J  31i.  3  2 
8'  4  8  2  8  4  8 

GOTHIC  No.  31  with  GOTHIC  No.  32  (12A266) 
Em  Size,  .1937 
(Casts  on  13  point  body) 

/8y4y8/2/8y4/8 

113 
4  2  4 

LINING  GOTHIC  No.  1  (12A55)  Size,  .1937 

74/2^/4/32/3 

/sysysys/eS/e 

PABST  EXTRA  BOLD  (12A292)  Em  Size,  .1937 

ysyays/zygya/s 
/sysysysysys/eye 

iA  3  15  3  7  1  _2  i  2  3  4  1  5 

8  4  8  2  8  4  8  3  3  5  5  5  5  6  6 

TITLE  No.  5  with  TITLE  ITALIC  No.  6  (12A114) 
Em  Size,  .1937 

/8  1/4/81/^/8^4/8/3% 

113  15  3  7 

8  4  8  2  8  4  8 

VULCAN  BOLD  (12A300)  Size,  .1937 

/s  l^  %  yz  /s  %  %  /s  2/3 

GOTHIC  No.  16  (12A163)  Size,  .2109 

y8'/4%'/2%%ysy3 


966 


LINOTYPE    FRACTIONS 


One-Letter—A!  to  14  Point 


12  Point,  c*oii(iiiii<>(f 

GOTHIC  No.  16  (12A158)  Em  Si?e,  .2213 

Vb  Va  %  Vi  3/4  %  Vs  2/3 
i_  1 3  J  5^  3  7 1  2 

8  4  8  2  8  4  8  3  3 

MEMPHIS  EXTRA  BOLD  (12A458) 
Em  Size,  .2213 

Vs  ^4  V2  3/4  %  1/3  VS  % 

1  i  3  JL  2 
4  2  4  3  3 

POSTER  BODOIMI  (12A298)  Em  Size,  .2213 

V8V4V2%3/47/8 
V32/3Vk%44I/j..ye 

8  4838483S 

BOLD  FACE  No.  3  (12A62)  Em  Size,  .224 

Vs  M  %  1/2  M  %  Kj  % 

1  a  :j  1  2 

4  2  4  3  3 


14  Point 

BASKERVILLE  CONDENSED  (14A1)  Size,  .0968 

1 1315  3  7 

8482848 

METROMEDIUM  No.  2  (14A246)  Size,  .0968 

113  1 5  37 
848  2  848 

BENEDICTINE  (14A106)  Size,  .1107 

11815  3  7  12 
8  4  8  2  8  4  8  3  3 

Size,  .1937 


BENEDICTINE  BOLD  (14A150)  Size,  .1107 

11 115 3 71212 3  415 
8482  8  4833555566 

Size,  .1937 


BODONI  BOLD  (14A68)  Size,  .1107 

1  1  iJ  1  r>  3  7  1  _2_  1  _2_  A  A  1  5 

8  4  8  2  8  4  8  3  3  5  5  5  5  G  G 

WAWA%V^% 

BOLD  FACE  No.  6  (14A65)  Size,  .1107 

IIU  1  •'>3  7  12. 

8482848  3  3 

CLEARFACE  BOLD  (14A148)  Size,  .1107 

113  15  3  7 

8  4  8  2  8  4  8 

Size,  .2075 

%VA%V2%Vi'AVzV^ 

DeVINNE  OUTLINE  (14A52)  Size,  .1107 
J    I]   3   II   S  3  7  J   2 
8  4  S  2  8  4  8  3  3 

GARAMOND  BOLD  (14A164)  Size,  .1107 

I   I   31  5  3  7 
8  4  8  2  '8  4  8 


'AV^ysViV^V4VsV3 


GOTHIC  No.  16  (14A119)  Size,  .1107 

I    13  15  3  7 
"8  4  '8  2  8  "4  8 

GOTHIC  No.  16  (14A92)  Size,  .1107 
111 

4  2  3 

METROBLACK  No.  2  {14A250)  Size,  .1107 

J  J  3  1  5  3  7 
84  82  84  8 

MID  GOTHIC  (14A11)  Size,  .1107 

1 1315371 2123415 

5  4  8  2  S  4  8  3  3  5  5  5  5  6  6 

BOLD  FACE  No.  3  (14A16)  Size,  .1383 

1    1  3   1   3  7  1    2_  1   3  4  1  A 

8  4  8  2  4  S  3  3  5  5  5  <J  ft 

DeVINNE  EXTRA  CONDENSED  (14A31) 
Size,  .140 


CHELTENHAIVI  BOLD  EXTRA  CONDENSED 

(14A43)  Em  Size,  .166 

'AVA'AViViWA 

8482848, U 

CLOISTER  (14A162)  Em  Size,  .166 

111111112 
84828483  3 

GOTHIC  CONDENSED  No.  2  (14A3) 
Em  Size,  .166 

'AA'A'A'AyAVs 
'A'A'A'A'AYs'AVs 

113  1 537  I  2  I  234  I  5 
8  4  8  2  8  4  8  3  3  5  5  5  5  6  6 

ANTIQUE  No.  1  (14A56)  Em  Size,  .1937 

ysy^ysysysYsyeye 

113  1537121234 
8  4  8  2  8  4  8  3  3  5  5  5  5 

BASKERVILLE  (14A183)  Em  Size,  .1937 

'7814^^8 1/2  5/8  3/4  7/31/32/3 

11115  3111113  41ii 
8  4  8  2  8  4  8  3  3  5  5  5  5  6  6 

BENEDICTINE  (14A106)  Size,  .1937 


111^15  3  712 

¥  1  8  2  8  4  8  3  3 

BENEDICTINE  BOLD  (14A150)  Size,  .1937 
Sue,  .1107 

il315 3 71112 3  415 
848284833555566 


BENEDICTINE  BOOK  (14A146)  Size,  .1937 


BODONI  (14A94)  Em  Size,  .1937 

VS  1/4%  ¥2%  ¥4  78 

VsVsVsVsVsVsVGVe 

113133  7 
8  4  8  2  8  4  8 

BODONI  BOLD  (14A68)  Size,  .1937 

Vs'A%V2%y4Vs 
ViV5%%yiVe% 


11  3  1  5  3  7  1  _2  J  2  3_  A  1  5 

8  4  8  2  8  4  8  3  3  5  5  ■>  5  «  6 

BODONI  BOOK  (14A114)  Em  Size,  .1937 

8  4  2  4  3  3 

BOLD  FACE  No.  3  (14A16)    Size,  .1937 

ysy4%y2%ysy3%% 

Size,  .1383 

1  1  3  13  7  12  1  3  A  1   5 
8  4  8  2  4  8  3  3  5  5  5  0  6 

CASLON  (14A34)  Size,  .1937 

ysyiVsy2ysyiy'. 


CASLON  BOLD  CONDENSED  (14A117) 
Em  Sire,  .1937 

%  Vi  %  Vi  %  -M  'A  V,  % 

113.1511 

8  4  8  2  8"  4  8 

CASLON  No.  3  (14A54)  Em  Size,  .1937 


1/ 


%  %  Vi  %  Va  V, 


'/3  %  V,  y,  %  %  '/6  % 
11 3.1 5  111  2.11111 5. 

8482  84833555566 

CASLON  OLD  FACE  (14A132)  Size,  .1937 


Special  No.  1.  Size,  .1937 

'A  'A  Vh  Vi  ys  A  % 

'4  y  'A  V-^  'A  tS  'A  Vg 

CENTURY  BOLD  (14A7)  Em  Size,  .1937 

VsyAW/2%y^VsVz''A 

113  15  3  7  12  1 

8  4  "8  2  "8  4  8  3  3  5 

CENTURY  BOLD  (14A124)  Em  Size,  .1937 

'AVAV^yz^yAy^ 
y3%y5%%y5'/6y6 

1131312 

8482433 


967 


One -Letter— ^  to  \4>  Point 


LINOTYPE   FRACTIONS 


14  Point,  eonfiiitied 

GARAMOND  No.  3  (14A236)  Em  Size,  .1937 

OLD  STYLE  No.  7  (14A120)  Size,  .1937 

CENTURY  EXPANDED  (14A58)  Em  Size,  .1937 

"^  nor  i  ;i  1    M  n     1 

1/8/4/8  1/2  5/8  3/4  7/8 

yy^y^yy^yAy^ 

O fJcL  \a\    IM U.    i. 

1/3  2/3  1/5  2/5  3/5  4/5  1/6  5/6 

yzyzyysysysyeye 

11815  8  7 

8482848 

113  15  3  7  12 
84-8  284833 

ORIGINAL  OLD  STYLE  (14A2)  Size,  .1937 

/8>4H/2y8yiy8 

CHELTENHAM  (14A4)  Em  Size,  .1937 

GOTHIC  CONDENSED  No.  1  (14A5) 

J^  !4  %  ^2  K  %  H  3^  5^ 

Em  Size,  .1937 

PABST  EXTRA  BOLD  CONDENSED  (14A204) 
Em  Size,  .1937 

11315371212  34  15 
848284833  555566 

1 I31537I2I234I5 
-8  -4  8  i  "8  -4  8  3  3  -5  5  5  5  "6  -G 

1131 53712 

CHELTENHAM  BOLD  CONDENSED  (14A46) 
Em  Size,  .1937 

GOTHIC  No.  13  (14A61)  Em  Size,  .1937 

84  82  84833 

•/8'/4%'/2  5/8  3/4y8'/3 

1  1  3  1  537  1  2 
848284833 

PABST  OLD  STYLE  (14A66)  Size,  .1937 

113153712 

SCOTCH  (14A142)  Em  Size,  .1937 

84828483-3- 

CLOISTER  BOLD  (14A154)  Em  Size,  .1937 

GOTHIC  No.  16  (14A119)  Size,  .1937 
Size,  .1107   ■ 

1    13  15  3  7 

V&ViWMBWA 

1131537  121234  15 

V^y^V^'^AY^^VeVe. 

8  4  8  "2  8"  -4  "S" 

848284833555566 

113153712123415 

GOTHIC  No.  16  (14A9)  Size,  .1937 

TEXTYPE  (14A220)  Em  Size,  .1937 

848284833555566 

y4y2y3 

¥31/4%  1/2%  3/4  78 

DeVINNE  (14A84)  Em  Size,  .1937 

113  1537 

y8y4%y2%%y8 

JANSON  (14A178)  Em  Size,  .1937 

/S  /4  /S  Vl  /S  y4  /S 

8482  84  8 

TITLE  No.  5  with  No.  7  ITALIC  (14A108) 

y8%y5%%%y6'"M> 

1131 53712123415 

/3  /3  'A  V,  %  %  /6  % 

Em  Size,  .1937 

y8y4%y2%y4y8 

¥4  8-2  84  83355556G 

113  15  3  7 
8  4  8  2  8  4  8 

113153  7 

ELECTRA  (14A216)  Size,  .1937 

84  82  848' 

1/8  1/4  5/8  1/2  5/8  Ya  %  1/3  2/3 

MEMPHIS  BOLD  (14A206)  Em  Size,  .1937 

y8i/4%y2y8y4% 

TITLE  No.  7  (14A60)  Em  Size,  .1937 

1131537 

ELZEVIR  No.  3  (14A126)  Em  Size,  .1937 

1  131  5 371212 3 41A 

ysi/sysysysi/eye 

li3JL53  7 
84  8284  8 

8T8  284833  555566 

MEMPHIS  LIGHT  (14A208)  Em  Size,  .1937 

8  482848 

ESTIENNE  (14A202)  Size,  .1937 

/sM^s/- 5/8)4/8 

/8l/4y8l/2y8y4/8/3 
ll^l^i7 

UNIVERSAL  FRACTIONS  (14A362) 

Em  Size,  .1937 

12  3  4  5  6 

7  7  7  7  7  7 

EXCELSIOR  (14A218)  Em  Size,  .1937 

84  8284  8 

1^345  6  7  8 

Vs  Vi.  %  y2  %  %  % 

MEMPHIS  MEDIUM  (14A212)  Em  Size,  .1937 

99999999 

/O      /•*      /O      /  ii-      /O      z**      /o 

GARAMOND  (14A156)  Em  Size,  .1937 

i/8i/4y8i/2y8y4y8 

12      3      4      5      6      7      8      9 
10  1010101010101010 

1/3  2/3 1/5  2/5  ysys  1/6  ye 

12      34      5      7      91011 
121212121212121212 

/8/4y8/2y8y4/8 

113  15  3  7 
8-4-828-48 

12      3      4      5      6      7 
16161616161616 

/3y3/5y5/5y5/6y6 

NARCISS  (14A85)  Em  Size,  .1937 

8      9    101112131415 
1616161616161616 

I  13113  71112  3411 
848284833555566 

Ks54y8K2%My8 

12357911 
32323232323232 

1131537 

1315192325272931 

GARAMOND  BOLD  (14A164)  Size,  .1937 

8482848 

32  32  32  32  32  32  32  32 

ys  y4  ys  y2  ys  Va  'A  v^  y^ 

No.  36  (14A12)  Size,  .1937 

1      3 
6464 

Size,  .1107 

1      3      5      7      9     111315 

I   I   3  I   5  3  7 

16  16  16  16  16  16  16  16 

No.  36  (14A12)  Em  Size,  .196 

"8482848 

OLD  ROMAN  (14A64)  Size,  .1937 

1/81/4%  1/2  %y4y8 

GARAMOND  BOLD  No.  3  (14A228) 
Em  Size,  .1937 

VsVA%V2YsyAVs 

i^%i/5%%y5y6% 

1/81/4  3/81/2  5/8  3/4/8 

OLD  STYLE  No.  1  (14A76)  Size,  .1937 

113  15  3  7  12  12  3  4  15 

1/32/31/52/53/54/51/65/6 

y^yAV^'Ay^y^y^Vzyi 

8482848335  5  5566 

Size,  .1937 

113153712 

1      3      5     7     9    1113  15 

1      3      5      7      9     111315 

8  48284833 

1616161616161616 

16  16  16  16  16  16  16  16 

968 


LINOTYPE    FRACTIONS 


One-Letter— 4<  to  14  Point 


14  Point.  c>oiitttttic>fI 

BOOKMAN  (14A232)  Size,  .2213 

PABST  EXTRA  BOLD  (14A172)  Em  Size,  .2213 

CENTURY  EXPANDED  (14A58)  Em  Size,  .2075 

1/31/4 1/2  5/8  y4y8 

y8»/4%»/2%% 

VsV4%V:,%%Vh 

1/3  %  1/5  ys  Vs  1/6  ye 

»/3%»/5y5y5V65/6 

Mi-/sV5%%Vi;% 

CHELTENHAM  BOLD  {14/.J0)  tlm  Size,    2213 

113153712 

S  4  S  2  8  4  8  3  3 

1  1  8  1  5  .S  7  1  2  1  2  :5  41  5 
^48284838  5  o  5  5  (J  G 

y8'/4%'/2%%y8 

POSTER  BODONI  (14A174)  Em  Size,  .2213 

Special  No.  1.  Em  Size,  .1937 

1131587 

'73%%%% 

v«V4V2y«%% 

113153712123415 
8  4  8  2  8  4  8  3  3  5  5  5  5  6  6 

'/3%l/v%^«/^V6y6 

8  4  8  2  8  4  8 

1  I  :t  1  5  :t  7  1  3  1  2 :{ 4  1  5 

CLEARFACE  BOLD  (14A148)  Size,  .2075 

GOTHIC  RELIEF  (14A77)  Size,  .2213 

»4»:i84833o.>5.>«6 

Size,  .1107 

1 

VzW^ 

1 

VULCAN  BOLD  (14A176)  Size,  .2213 

Vs  1/4  %  V2  %  %  1/3  2/g 

113  15  3  7 

MEMPHIS  EXTRA  BOLD  (14A234) 

84  8  2  84'8 

Em  Size,  .2213 

CHELTENHAM  BOLD  a4Ai3)  Em  Size,  .2352 

No.  16  (14A14)  Size,  .2075 

Va  V4 1/23/4^8  V3 1/53/5 

VsV^VzV^VsVzVz 

VS  1/4  %  V2  %  ¥4  % 

113153712 
84  82  84  83  3 

i  13153712 
84:8284833 

DUPLEX   DISPLAY-18  ami  24  Point 


18  Point 

CASLON  (18A86)  Size,  .0968 

12 
33 

CENTURY  BOLD  {18A76)  Size,  .1107 

mill 

84  8284 

CHELTENHAM  BOLD  CONDENSED  (18A24) 

Size,  .1107 

113.153.7 
8482S48 

GARAMOND  BOLD  No.  3  (18A58)  Size,  .1107 
ii  J.J- 2. 
4  2  4  3  3 

GARAMOND  No.  3  (18A62)  Size,  .1107 

111111111 
848284833 

MEMPHIS  EXTRA  BOLD  (18A52)  Size,  .1107 

1JL312 
42433 

V8V4%y2%y4% 

IVIETROBLACK  No.  2  (18A46)  Size,  .1107 

113 
424 

METROMEDIUM  No.  2  (18A54)  Size,  .1107 

11315371 
84828483 

CASLON  No.  3  (ISAbb)  Size,  .1245 

11315371 

84828483 


POSTER  BODONI  (18A26)  Size,  .1383 

JJL»X21 
4  24  3  36 

Size,  .3044 
Available :  'a  V-i  %  I  i  ^  a  ^  4 ''  s '  3  % 


PABST  EXTRA  BOLD  CONDENSED  {18A72) 
Size,  .1937 

/8  /4  /o  /2  /8  /4  /5 

CHELTENHAIVl  (18A92)  Size,  .2075 

'/8y4y8'/2%%y8 


CHELTENHAIVl  BOLD  CONDENSED  (18A24) 
Size,  .1107 

1111137 
8482848 


MEMPHIS  EXTRA  BOLD  (18A52)  Size,  .2144 

y8y4%y2%%% 

bi.'e,  .1107 

1A312 
42433 


BENEDICTINE  (18A18)  Size,  .2213 

WUW/2%V4VZ 


BODONI  (18A38)  Em  Size,  .2213 

Vs  1/4%  1/2%%%  1/3 

JLJL315  3il2. 
8  4{{2iJ48  3  3 


BODONI  BOLD  (18A10)  Em  Size,  .2213 

V8 1/4%  1/2%  ¥4%  1/3 

11  315  3  7:1.2. 
84.8  2  8483  3 

CLOISTER  (18A14)  Size,  .2213 

Vs  %  Vs  Vi  Vs  %  Vs 

CLOISTER  BOLD  (18A12)  Em  Size,  .2213 

/8/4/8/2/8/4/8/3 

1111537 
8482848 

GARAMOND  BOLD  (18A22)  Em  Size,  .2213 

■/8y4y8y2  5/8y4y8 

I J  3  1 5  3  7 

84  82  848 

MEMPHIS  BOLD  (18i20)  Em  Size,  .2213 

y8y4%y2y8y4y8y3 

ii3JL537 
8482848 

MEMPHIS  MEDIUM  (18A28)  Em  Size,  .2213 

'/8'/4%y2%y4%y3 

1131537 
8482848 

CASLON  No.  3  (18Abb)  Size    .249 
CHELTENHAM  BOLD  llS.-'.go)  Size     240 

y8y4%y2%3/4% 


969 


Duplex  Display— 18  and  24  Point 

LINOTYPE   FRACTIONS 

18  Point,  continued 

PABST  EXTRA  BOLD  CONDENSED  (24A72) 
Size,  .1522 

CHELTENHAM  BOLD  CONDENSED  (24A24) 
Size,  .2767 

POSTER  BODONI  (18A26)  Size,  .3044 

»/«y4%V2%% 

113153712 
848284833 

V4V2%W/8 

Available :  Vs  ',4  %  Vz  %  ^-4  % 

Available :  Va '4 % V2 % ^/4 '/s V3 % 
Size,  .1383 

113131 
4  24  3  36 

Size,  .249 

/4/2 

PABST  EXTRA  BOLD  CONDENSED  (24A72) 
Size,  .249 

/4/Z 

PABST  EXTRA  BOLD  (18A42)  Size,  .332 

V4VzV4V3V3 

CENTURY  BOLD  (24A76)  Size,  .166 

11315371 
8482848  3 

Size,  .1522 

113153712 

848284833 

BODONI  BOLD  (24A10)  Em  Size,  .332 

24  Point 

GARAMOIMD  BOLD  No.  3  (24A58)  Size,  .1245 
11^ 

METROMEDIUM  No.  2  (24A54)  Size,  .166 

113  1537 
8482848 

POSTER  BODONI  (24A26)  Size,  .1937 
1 

2 

1/8  1/4%  1/2% 

Available :  ■  a ■  4 % Vi^8^.4T'8 '/b% 

113153712 
848284.833 

POSTER  BODONI  (24A26)  Size,  .415 

424 

1/81/41/2% 

Size,  .415 

Available:  Va '  4  %  i/j  5,  j  3^4 1,  g  Vs  % 

CLOISTER  BOLD  (24A12)  Size,  .1522 

113 
4  24 

1/81/41/2% 

Available:  •a'4%''2=8  =  4''B'323 

Size,  .1937 
1 

2 

TWO-LETTER,  ROMAX   with  ROLD-4  to  24  Point 


4  Point 

No.  10  with  GOTHIC  No.  4  (5A2)  Em  Size,  .083 

No.  18  with  ANTIQUE  BLACK  No.  1  (5AI8) 

%%%%%%^A%VB%%%Ve% 

Em  Size,  .1107 

CENTURY  EXPANDED  with  GOTHIC  No.  16 

VsV*%'/l%%'A%'/sVs%Vs'/eVa 

%  '4  %  '4  %  %  %  %  %  Vs  %  %  %  Ve  % 

(4A2)  Size,  .0968 

hWAummM 

'/a  'A  %  '/2  %  y»  %  '/3  %  •/»  %  %  %  '/a  '/s 

'  8  1/4  3/8  1/2  5'»  3/4  1/8  1/3  2/3  1/5  ?'5a  5  "'S  '  '«  -Ve 

immm%iu% 

iliil3i554liSiE 

«/8V4V8'/2V8'/4V8V32/3Vs»-^Vs«/sV«Vs 

A  ft  A  A  &  SiA^^&nH 

A  ft  A  A  ft  ft  i'o  &  fkniinnnn 

iiliSlliSiHIil 

43/4  Point 

V.  r%  -?€  -?€  -,%-  n'«  i'*  -ft  '  -i  1  -!  HM 1  -U  ^  1 

51/2  Point 

No.  6  with  GOTHIC  No.  16  (43/4A2)  Size,  .1107 

^  A  A  Aj'j  ii  i§  iHI  iS  iS  II 51  !l  II S  J- 

No.  1  with  CLARENDON  No.  1  (5V2A8) 

1   si   43-8'-2S-8V4''  8  1/3  =  3  Vs  =  5  ^'5  Vs 

AflAAi?.M53J5J3i5S!3l5rir;S 

Special  No.  1.  Size,  .050 

«/««/4V»V2VaV4V«V3>/3VsV5V5Vs 

J,  ^  sv  «i  &  a  a  ij  a  i3  li  13  nil  a  a 

JiHSH 

iS  35  33  S5  a  J^  H  K  JS  SJ  S3  S5  S3  SS  S5  83 

WlWll 

13  S3 15 II  -Ji  23  S3  IJ  tt  li  13 13 13 13  li  13 

5  Point 

Special  No.  1.  Size,  .0968 

No.  4  with  BOLD  FACE  No.  2  CONDENSED 

'«  n  %  1/2  %  %  %  1/3  %  Vs  %  %  %  Vs  % 

(5V2A32)  Special  No.  1.  Size,  .083 

EXCELSIOR  with  BOLD  FACE  No.  2  (5A32) 

Vb  'A  %  '/2  %  %  %  '/3  %  Vs  %  %  rs  '/6  % 

ysy4%y2%-y4%% 

Em  Size,  .083 

%'4%y2=/s%%% 

'a'.ira'bSa^iTa'.i^Vs'/s 

OLD  STYLE  No.  1  with  CHELTENHAM  BOLD 

AAAAAftHH 

',8V4?&>,4%%%^i2«'5\fe 

(5A20)  Size,  .083 

AiJ.,'5.iT,i»eiii31g 

SU1S3Z 

'A%H',2%H  n  'A  'A  'A  %  ViVi  Ve  % 

B4a2e-ia 

V,  Va  %  Vz  %  Vi  %  vs  %  Vs  %  %  %  %  % 

Special  No.  3.  (Casts  on  5  point  body)  Size,  .083 

K4HJM-1H 

Vz  Va.  % '  '2  ■'^  s  "a  '4 '/,  %  %  %  %  -.^f. 

Special  No.  1.  Em  Size,  .100 

No.  1  with  GOTHIC  CONDENSED  No.  1  (5A4) 

%y.%y2-yK%%',5%y5%%% 

Va  "4  %  V2  Vs  V,  T'a 

Em  Size,  .092 

li<\i%V2%'>,'iVs 

1,4  Vi  %  "2  %  %  %  Vz  %  Vs  %  %  %  Va  % 

EXCELSIOR  with  BOLD  FACE  No.  2  (5V2A48) 

iXliiil 

'/a  '/4  %  '/2  %  %  %  '/3  %  '/a  %  Vs  ys  '/e  % 

(Casts  on  5  point  body)  Em  Size,  .092 

IMiiil 

JJgigJI 

Vs  Va  %  V2  Vb  '  i  "s  Mi  %  Vs  ^  '5  %  % 

Uiig^g 

'&'/4%y2%9i%i6?f.i,4%%1& 

EXCELSIOR  with  GOTHIC  No.  3  (5A36)  Size,  .083 

No.  10  with  GOTHIC  No.  4  {5A2)  Size,  .0968 

Ji8Jg3J 

V8'i'a''2%^4Ta 

Special  No.  1 

iJSliSJ 

VB'AW/2^kW/s 

Vi  ':i  %  '/4  ^4  %  %  Vs  %  Vs  %  %  %  'i  % 

Special  No.  2.  Em  Size,  .100 

I/a  '/4  %  '/2  %  %  %  'A  %  '/s  %  %  rs  '/6  % 

(Casts  on  5  point  body) 

IONIC  No.  5  with  BOLD  FACE  No.  2  {5A24) 
Em  Size,  .083 

EXCELSIOR  with  BOLD  FACE  No.  2  (5A32) 
Special  No.  1.  Em  Size,  .100 

■/8y4%y2y8%r8y3% 

VaU's'i^ij^irs'.-j^Vs^s^'srsVs^e 

la  '4  %  ','2  =8  ^4  % 

lUhiilhlim 

^^^/4?8',i%%Tfe^■>?3V3%%1&^'6% 

18  14%V2?&%% 

J13ig2Siti5.^i?.?. 

.  _     _ 

1       3      3       7      9     1113    15 

840284833 

8482838 

16    16    16    16    16    16    16    16 

lliUilhi 

iiS'-g^l 

AAAi'o,»o5?,53  33 

970 


LINOTYPE    FRACTIONS 


Two -Letter,  Roman  ivith  Bold— 4:  to  24!  Point 


SVz  Point,  cotttinued 

EXCELSIOR  with  GOTHIC  No.  3  (5V2A54) 
Size,  .092 

'/8'/4%'/2%%%>/3 
!/a!/4%/2%%%!/3 

IONIC  No.  5  with  BOLD  FACE  No.  2  (5V2A42) 
Em  Size,  .092 
(Casts  on  5  point  body) 
■/s  'A  %  V2  %  %  Va  'A  %  '/s  2/5  3/5  •»  '5  Ve  % 

32  32  32  32  32  32  32  32  32  32  32  32  32  32  32  32 
1  .T  .-^  7  n  lli;!^^!?!  !>21  2:l:2.-.liTM!».'iZ 

Special  No.  2.  (Casts  on  5  point  body) 
Em  Size,  .100 
y8'/4%"/2%%y8'/3 


Special  No.  1.  Size,  .100 
(Casts  on  5  point  body) 

No.  1  with  CLARENDON  No.  1  (5V2A8) 
Em  Size,  .092 

%  '4  %  V2  %  %  Vs  %  %  %  y^  %  %  Va  % 

'/a  %  %  H  %  y4  ys  %  %  Vs  %  %  '/i  ys  % 

113153712123415 
848284833655566 

Special  No.  3.  Size,  .092 
(Casts  on  5  point  body) 

Vg  >4  %  Vz  %  %  Va  Vs  % 

Special  No.  1.  Size,  .050 
iHiiii 


No.  2B  with  BOLD  FACE  No.  2B  (5V2A36) 
Special  No.  2.  Size,  .092 
(Casts  on  5  point  body) 
Vs  Vt  %  V2  %  %  %  Va  ^'5  %  % 

'/6  '/4  %  y^  ?&  %  '/s  %  ?^.  %  % 

Special  No.  1.  Size,  .092 
(Casts  on  5  point  body) 
A  A  ft  A  ft  a  iS  ^3 

1      3     B     7     O   111315 
1>»  lO  l«  1«  10  l«t  iK  irf 

No.  11  with  GOTHIC  CONDENSED  No.  4  (5V2A24) 
Em  Size,  .0968 
Vs  Vi  %  V2  %  %  %  Vs  %  Va  %  %  %  Vk  % 
Vs  Va  %  'A  %  %  Ve  'h  Vz  '/s  Va  %  %  'A  % 

OPTICON  with  BOLD  FACE  No.  2  (SViAeO) 
Size,  .0968 

V8y4%y2%%y8 

EXCELSIOR  with  BOLD  FACE  No.  2  (5V2A48) 
Special  No.  2.  Em  Size,  .100 
(Casts  on  5  point  body) 

V8'/4%'/2%y4y8'/3% 


IONIC  No.  5  with  BOLD  FACE  No.  2  (51/2A42) 
Special  No.  2.  Em  Size,  .100 
(Casts  on  5  point  body) 

V8V4%y2%%%V3 


i/ii'i3.i.i: 


^Vn-V-i^MVii 


1  1  :ti  KftTl  212 a 41s 
H4H2K4M;t;tr>nr.  r.nn 

Special  No.  1.  Size,  .100 
(Casts  on  5  point  body) 


IONIC  No.  5  with  GOTHIC  No.  16  (5V2A64) 
Size,  .100 

'4  '/4  %  '72  ys  ^4  ys 

V8V4y8V2V8V4% 

No.  1  with  BOLD  FACE  Mo.  2  (5V2A12)  Size,  .100 
Vi  '4  ^4  M:  %  ?5  %  '-:,  2f,  1;,  %  %  %  14  % 

(Casts  on  5  point  body) 

No.  2  with  BOLD  FACE  No.  2  (5V2A2) 
Em  Size,  .100 
'i  %  %  Vi  %  '4  %  %  ^i  Mi  %  %  %  'i  % 

Vn  y.  %  vi.%%  %  M.%%%%%%% 

ll3  1C:t7  12  12341R 

S4S2H4S33r>r.rir;«« 

No.  2B  with  BOLD  FACE  No.  2B  (5y2A36) 
(Casts  on  5  point  body)  Em  Size,  .100 

ys  y*  *«  Vz  %  %  %  %  %  %  y^  %  %  %  % 

Special  No.  1.  (Casts  on  5  point  body)  Size,  .100 

Vs  Vi  %  y2  %  %  % 

Special  No.  2.  (Casts  on  5  point  body)  Size,  .092 

Vs  Vi  %  y2  %  %  %  Vs  %  %  % 
Vi;yi%y2-r8=>4%yi%%-'/f, 

Special  No.  1.  (Casts  on  5  point  body)  Size,  .092 
ft  A  ft  A  ft  iJ  !;:  !:: 


PARAGON  with  PARAGON  BOLD  (5V2A66) 
Size,  .100 

■/8y4%'/2ya3,4y8 
'Ny4%y2-i8^4% 

No.  4  with  BOLD  FACE  No.  2  CONDENSED 
(5V2A32)  Em  Size,  .1107 

%%%%%%%%%'■?;%  ^iii  ■'ii  %  % 

Vs  '4  %  %  %  %  Ys  ya  %  y-s  %  %  %  %  --Xi 

1131B:I71212  3  41H 

N  4  s  2  K  4  N  a  3  r.  r>  r.  ri  «i « 

Special  No.  2.  Size,  .1107 
(Casts  on  5  point  body) 

Vi  y4  %  V2  %  %  %  '•.•!  ?i 

V  s  %  %  ya  %  %  %  %  % 

A  ft  ft  ft  ft  JJ  13  Js 

I     3     K     7     n    11  l.'(  1.% 

Special  No.  3  (Casts  on  5  point  body)  Size,  .083 

Vi  y4  %  V2  %  %  %  ys  y3  v^  %  %  % 
V4iy4?&V2%%%v6%v&?-.v}r,V5 

Special  No.  1.  Size,  .083 

ysV4%y2%%y8% 

ViV4'5'8y2%%%-% 

1   a  n  7  o  iiiaiB 
iiti4iiui((ioieiuiu 

No.  4  with  GOTHIC  No.  9  (5V2A46)  Size,  .1107 

'i    Vi    %    Vi    =K    %     'H 

V  8  I.  4  3/8  1,  '2  5/83/47/8 

BOLD  FACE  No.  1  with  10  Point  CLARENDON 
No.  1  (5V2A14)  Size,  .140 
(Aux.  Position  Casts  on  10  point  body) 
%  V\  %  Vi  %  %  'n 


V8y4%y2%%yj 


8 


6  Point 

DeVINNE  with  ANTIQUE  No.  3  16A2S)  Size,  .050 
Special  No.  1 

No.  1  with  CLARENDON  No.  1  (6A48)  Size,  .050 


No.  17  with  CONDENSED  TITLE  No.  5  (6A132) 
Size,  .0553 

Size,  .083 

y8V4%y2%%%%%%%%VG% 
y8'4%y2%%%%vf.%%«v<i% 

BOLD  FACE  No.  9A  with  GOTHIC  No.  31A  (6A218) 
Size,  .0692 

1   1    :t  1   :j  1   2 

H  4   -s  J  4  :t  :* 

113  13  12 

8  4   8  2   4  3   3 

Size,  .1107 

Vb  y4  %  y2  %  %  %  Mi  %  y^ 

V^%%Vk%%^8'3=3V5 

BOLD  FACE  No.  9C  with  GOTHIC  No.  31C  (6A214) 
Em  Size,  .083 

%'/iy8y2%%y8 
"BV4=4y2Hy4% 


DeVINNE  with  ANTIQUE  No.  3  (6A28)  Size,  .083 
Special  No.  1 

ysy4%y2%%yH 
V8y4%y2%y4% 

GOTHIC  No.  25A  with  GOTHIC  CONDENSED  No.  2 

(6A164)  Size,  .083 

'/a'/4%'/2=/.,^'4'/f. 

GOTHIC  No.  31C  with  GOTHIC  No.  32C  (6A262) 
Em  Size,  .083 

yaV4%y2y8=4';3'/3%' 52/5=/i'''s 
%  %  Va  '/2  Va = i  "3  v'3  y3  >/5  y?  ys  y, 

GOTHIC  No.  32C  with  GOTHIC  No.  33C  (6A242) 
Em  Size,  .083 

'/a '  '4  =/e  \'z  Vs  'A  %  '/3  %  Vs  ys  %  '/s  '/s 

v'8'/4ya'/2yBy4%'/3y3'/5%y5y5'/. 
J 

GRANJON  with  GRANJON  BOLD  (6A305) 
Em  Size,  .083 

Ha  2  a  48 

No.  2  with  CONDENSED  TITLE  No.  3  (6AII8) 
Special  No.  2.  Size,  .083 
13   5    7    9  1 1 1 3 1  r> 

l.lYtlTtUni.Ufil.^  1. 


No.  17  with  CONDENSED  TITLE  No.  5  (6A132) 
Size,  .083 

v^v4%y2%%%%y5%%%v{;% 
y8V4%v4'ys%%%vf,-;f,%%V4% 

Size,  .0553 

No.  21  with  ANTIQUE  No.  6  (6A88)  Size,  .083 
Vs>4%Vi%%%V6%V5%%%i.;% 

'  8y4%y2%%%y3%'/6y5%%y6% 

OLD  STYLE  No.  1  with  CHELTENHAM  BOLD 
(6A124)  Size,  .083 

V4y4%v'2%%%y3%%%%y5y6% 

Special  No.  1.  Size,  .083 
(C.i'.ts  on  5''2  point  body) 

V8'4^8'2''8'4'8'3^3 

OLD  STYLE  No.  1  with  TITLE  No.  1  (6A90) 
Em  Size,  .083 

;8V«'8y2Hf4?8V^j^H5<vH-)-5y6-^ 
y8y4%y2%%%y3%H%%%y6% 


971 


Two-Letter ,  Roman  with  Bold— 4<  to  24^  Point 


LINOTYPE    FRACTIONS 


6  Point,  continuetl 

No.  2  with  CONDENSED  TITLE  No.  3  (6A118) 
Special  No.  1.  Size,  .084 

No.  2  with  GOTHIC  CONDENSED  No.  2  (6A82) 
Em  Size,  .084 

%%%y2%%% 

113153712123415 

No.  2  With  GOTHIC  No.  3  (feA6)  Size,  .084 
Special  No.  2 

Ka!/4%K2%%''8 

No.  8  with  BOLD  FACE  No.  2  (6A122)  Size,  .084 
Special  No.  1 

%y4%V2%%yM%%% 

No.  28  with  EGYPTIENNE  SERREE  No.  1  (6A60) 
Size,  .089 

No.  28  with  NORMANDE  No.  4  (6A66)  Size,  .089 

%y4%y2%%'s 

BELL  GOTHIC  LIGHT  and  BOLD  (6A418) 
Size,  .0968 
Ve  Vi  Vs  V2  Vs  3A  Vs  Vs 

V8V43/8V2Vb3/47/8''/5 

CENTURY  EXPANDED  with  CENTURY  BOLD 
C6A94)  Size,  .0968 

WA%y2%%%V5% 

EXCELSIOR  with  BOLD  FACE  No.  2  (6A314) 
Em  Size,  .0968 

y8y4=?iV2%=',4y8y3%y5ysy5''/sy6% 
i/8V4%y2%%%y3%y5%%%y6% 


1  ini  ri.T7i2i 


EXCELSIOR  with  GOTHIC  No.  3  (6A366) 
Em  Size,  .0968 

y8y4%V2%3,iy8 

Va'AW/zYsW/s 


EXCELSIOR  with  IVIEMPHIS  BOLD  (6A426) 
Size,  .0968 

>,i',43,8V2%3,4y8'/3%V5  =  '5^5'^5V6% 

V8V4%i/2V8y4yey32/3y5%ys4,'5V6y6 

GOTHIC  No.  25B  with  8  Point  GOTHIC 
CONDENSED  No.  2  (6A166)  Size,  .0968 
(Aux.  Position  Casts  on  8  point  body) 

'/a  'A  %  '/2  %  %  % 

V8y4%y2=/8y478 

IONIC  No.  5  with  BOLD  FACE  No.  2  (6A288) 
Size,  .0968 

y8y4^/8V2^8^/4y8y3^/'3'/5^5^5l5y6^6 

ys  y4%  y2%%%  '^  %  %%%%%% 

1  3  5  7  9111315 
16  1616  16161616  16 

1  3  R  7  O  1113  15 
in  lO  iti  lO  IH  lO  1(1  Iti 

Special  No.  1.  Size,  .0968 
(Casts  on  5V2  point  body) 

y8y4%y2y8y.''/a 
%'^%y2•y^.%ys 

LINING  METROMEDIUM  B  with  LINING 
METROTHIN  B  (6A380)  Size,  .0968 

%  '/a  % 
'/<■  Vz  Va 


MEIVIPHIS  LIGHT  with  BOLD  (6A322) 

Em  Size,  .0968 

'/8y4%  y2y8y4y8  V3V3  VsVsVsVsVBVe 


MEMPHIS  MEDIUM  with  MEMPHIS  BOLD 
(6A416)  Size,  .0968 

1/8  y4y8y2y8%y8  yjys 
y8y4y8y2y8y4y8y3V3 

METROMEDIUM  with  METROTHIN  (6A300) 
Em  Size,  .0968 

'/8y4y8y2y8y4y8y3y3y5y5y5y5y6y6 
'/8y4y8y2y8y4y8y3%y52/5y5y5y6y5 

113  15  3  7  1 
8482  8486 

1  1 .3  1  53  7  1 
84g2S4S'6 

No.  1  with  BOLD  FACE  No.  2  (6A12) 
Em  Size,  .0968 

%  %  %  %  %  %  Vs  %  %  ys  %  %  %  '/u  % 

%y4%y2%%%M.%H%%%%% 

iummmm 

1131.%37,1S12.141K 

No.  8  with  BOLD  FACE  No.  2  (6A122) 

Em  Size,  .0968 

%y4y8y2%%y8 

Special  No.  1.  Size,  .084 

WA%yi.%%y»y:M%% 

No.  10  with  GOTHIC  No.  4  (6A76)  Em  Size,  .0968 

■'8  y*  %  y2  y«  %  ys  %  %  %  %  %  %  ys  ye 
y8y4%'/2%%y8y3%i/5%%y5!/6% 


No.  11  with  GOTHIC  CONDENSED  No.  4  (6A120) 
Size,  .0968 

/8!/4%'/2%%% 

No.  IIB  with  GOTHIC  CONDENSED  No.  4B 
(6A176)  Size,  .0968 

y8y4%%%%% 

Vs'AW/zYaW/6 
No.  16  with  CENTURY  BOLD  (6A110)  Size,  .0968 

TELETYPE  EXCELSIOR  with  GOTHIC  No.  3 
(6A324)  Size,  .0968 

i8y4r8V2%%y8 
y8y4%!/2%%y8 

TEXTYPE  with  BOLD  FACE  No.  2  (6A296) 
Em  Size,  .0968 

V8'/4%y2%=;iy8V3%V5y5^5'»/5y6=,6 

'/8'4%y2%%%'/6%ys-/5%t5%% 

1  13  1537 
8-18284B 

Special  No.  5.  Size,  .112 

'/a  y4  ^'8  y2  %  =54  y8 
y8Vi%y2%%y8 


No.  2  with  ANTIQUE  No.  2  (6A50)  Size,  .100 
Special  No.  1 

ys  Vi  %  y2  %  %  ys  ys  ys  ys  %  %  %  Vs  % 

y8H?8l/i5/8?4%V3%H?5%*/iy6% 


No.  2  with  CONDENSED  TITLE  No.  3  (6A118) 
Em  Size,  .100 

y8'A%y2%%y8 
y8%%y2%%y8 
iiiiiii 

sV  i-2  ii  i,  ^1  hi  hi  i%  II  il  ii  3?  §6  5?  §!  U 
.h  &  &  .-72  3":.  U  m  ?1S  i,l  .313  gi  33  §3  g?  3S  gi 

Special  No.  2.  Size,  .083 

1  3  s  7  o  iiiqiR 
iei«iiGioi«](iiiii<i 

Special  No.  1.  Size,  .084 

y8y4%y2%y4% 
'^'4%y2%94% 

No.  2  with  GOTHIC  No.  3  (6A6)  Em  Size,  .100 

%  Vi  %  %  %  %  %  %  %  Vs  ys  ys  %  ys  % 

l/8y4%'/2%%y8'/3%l/5%%%!/6y6 

iiiiiiiiiunii 

113153712123415 
848284833555566 

Special  No.  2.  Size,  .084 

%y4%y2y8%y8 
y8!/4My2%My8 

OLD  STYLE  No.  1  with  ANTIQUE  No.  1  {6Al4) 
Em  Size,  .100 

uuumnuu 

TELETYPE  PARAGON  with  PARAGON  BOLD 

(6A432)  Size,  .100 

y8y4%'/2%%% 
%yi%y2%%% 

■■eA.'.  ■'.  I'oUUil 

il.ji.VS.VoAlAiSJS 

3'a  3=2  3'2  a'a  ,'2  ij  53  II  II  II  U  \ 

:fc  :iL  dL  =^5.  ;K.  5  J  ja  53  J5  SlI  H  J  i: 


II  it  l\ 


GERMAN  No.  3  with  BOLD  FACE  No.  2  (6A18) 
Em  Size,  .104 

%  y4  %  y2  %  %  ys  ys  %  ys  ys  ys  %  y<s  % 
%y4%y2ys%%%%y5%%%%% 

84^:23483 

BOLD  FACE  No.  9  with  GOTHIC  No.  31  (6A212) 
Size,  .1107 

ys  y4  %  M..  %  %  %  %  %  ys 
ys  ya  ye  yz  %  %  ^i  ya  %  ys 

BOLD  FACE  No.9A  with  GOTHIC  No.  31A  (6A218) 
Size,  .1107 

y%  Vi  %  y2  %  Va.  %  y.  %  v^ 
ys  y-  %  y2  %  %  ys  ya  ya  ys 

Size,  .0692 


BOLD  FACE  No.  9B  with  GOTHIC  No.  31B 

(6A216)  Em  Size,  .1107 

■/»  Vi  %  Vz  Vs  %  '/»  Ml  % 
'/a  Va  Vs  '/2  V.  V4  '/8  Va  V3 


CENTURY  EXPANDED  with  CHELTENHAM  BOLD 
(6A172)  Em  Size,  .1107 

ys  Vi  %  Mi  %  y*  ys  Vs  %  ys  ys  %  ys  ye  % 
ya  y4  ya  y2  Vs  y4  ys  y^  Vz  ys  Vs  ys  Vs  ye  Ve 

CHELTENHAM  WIDE  with  CHELTENHAM  BOLD 
(6AI8O)  Size,  .1107 

y*  Vi  Vi  Vi  y»  Vi  %  v,  v^  v-,  v^  ys  %  'a  % 
%  Vi  ¥s  y,  %  Vi  Ys  %  ya  ys  ys  ys  ys  %  % 


972 


LINOTYPE    FRACTIONS 


TiDu-Lcttcr ,  Human  with  Bold— 4  to  ii  Point 


a  Point,  contintiotl 

CLOISTER  WIDE  with  CLOISTER  BOLD  (&A276) 
Em  Size,  .1107 

Vs  'A Vs  Vi %  V'.VzVi Vi  14  n  n V-i ' ;. '^ 

Vs  '/4  %  Vl  '/S  Va  %  '/3  Vi  V5  Vs  V5  *A  !<,  5/6 

GOTHIC  No.  31  with  GOTHIC  No.  32  (6A256) 
Size,  .1107 

GOTHIC  No.  31A  with  GOTHIC  No.  32A  (6A258) 
Em  Size,  .1107 

Va  %  ys  Vz  %  %  %  1/3  %  '/s  %  %  ^ 5  Vs  ?6 
'/s  %  %  '/2  %  %  78  1/3  %  '/s  %  ?5  file  ^^ 


GOTHIC  No.  31B  with  GOTHIC  No.  328  (6A260) 
tm  Size,  .1107 

'A  'A  Vb  '/2  Va  V4  '/b  '/3  %  'A  Vs  ^s  '/'s  'A  Ve 
'A  'A  %  'A  %  3/4  'A  'A  %  'A  2/5  %  Vs  'A  =,6 

GOTHIC  No.  32  with  GOTHIC  No.  33  (6A236) 
Em  Size,  .1107 

V8V4='8'2^8=4'8'3^3'5S=5''5'5 

y8'A%y2%%%V32/3y5%%ysy6 


GOTHIC  No.  32A  with  GOTHIC  No.  33A  (6A238) 
Em  Size,  .1107 


V.  V«  3/  1/  5/  3  '  X'  1/,  2  ;  1  •  24  34  4 


,%%Vk%^4%V3^3 


3  .  S  /5  /5  .5 


GOTHIC  No.  32B  with  GOTHIC  No.  33B  (6A240) 
Em  Size,  .1107 

'A  Va  'A  Vb  %  'A  'A  V3  'A  %  ?%  Vs 
'A  Vs  'A  =A  %  ys  'A  V3  'A  %  Vs  «/s 


LINING  METROMEDIUM  with  LINING 
METROTHIN  (6A37fa)  Size,  .1107 

y4  'A  ?i 

LINING  METROMEDIUM  A  with  LINING 
METROTHIN  A  (6A378)  Size,  .1107 

Va  V4^8',  j=-a^4'B 

'A  'A  %  'A  Vs  3/4  ^  8 

WIETROBLACK  with  METROLITE  (6A298) 
Em  Size,  .1107 

Vs  '/4  %  '/2  %  ¥4  '/s  Vs  2/3  '/S  %  Vs  '/6  % 
Ve  '/4  %  '/2  %  %  ys  '/3  2/3  '/S  %  ys  '/6  5/6 

1131S37121234 
8  4  8  2  8  4  8  3  3  5  5  5  5 

1131537121234 
'tf4  8'2'8'48  3  3  5  5  5  5 


16   1  6   1  6   1  6"1  6   16   16   16 

METROLITE  No.  2  with  METROBLACK  No.  2 

(6A442)  Size,  .1107 

v%VAViVzWzy>.Viyz 

No.  12  with  GOTHIC  No.  8  (6A32)  Em  Size,  .1107 

%%%%%%%   '3  %   '4  %  %  14  Vis  ^^6 
14  /4  %  !/2  %  %  %  '/3  %  /S  %  %  ys  !/6  ?  6 

1 13153712123415 
848284833555566 

OLD  STYLE  No.  1  with  CHELTENHAIVl  BOLD 
ITALIC  (6A182)  Size,  .1107 

%  14  %  14  %  %  % 

OPTICON  with  BOLD  FACE  No.  2  (6A420) 
Size,  .1107 
Vb  ','4  -Js  V2  %  '/4  le 
Vs  !4  %  ^2  ■'j'8  -'i  % 


PARAGON  with  PARAGON  BOLD  (6A388) 
Em  Size,  .1107 

Vi  V4  ^s  Vi  %  •!:!  T K  ■•.  % 

ys  V4  %  %  %  %  %  %  % 

1  1  :*  1  r.  3  7 

DeVINNE  with  ANTIQUE  No.  3  (6A28) 
Em  Size,  .112 

V4  V4  %  %  %  %  %  'a  =-3  'i  %  %  V,,  V,:  % 

'/8  y4  %  y2  %  ¥4  %  y3  V3  \\  v,  %  %  Ve  Ve 

Special  Wo.  1.  Size,  .083 

Vs'^-%V2%%% 
V8y4%V2%%% 

Special  No.  1.  Size,  .050 

muumiim 

No.  1  with  GOTHIC  No.  2  (6A36)  Size,  .112 

'■k  Vi  %  Vi  %  %  % 

No.  2  with  ANTIQUE  No.  2  (6A50)  Size,  .112 
U  -i'.  s,{,  1, 


4  78   Vi  ';■»  "1 


%  Vi  %  Vi  %  %  %  ^«  % 

1  8  V4  38  V^2  ys  34  ^a  Vi  23  ys  ?5  ^i  %  Ye  % 
Special  No.  1.  Size,  .100 

Vi  Vt  %  Vi  %  %  %  Va  %  Vi  %  %  %  Vi  % 

No.  2  with  BOLD  FACE  No.  1  (6A7O) 
Em  Size,  .112 

's  '4  %  V4  %  %  %  Vi  %  Vi  %  %  %  Vi  % 

y«  V4  %  V2  %  %  %  M>  %  %  %  %  ys  M.  ■% 
A  y\  a  \\  i\  uu  n 

1     .'I     n     T     o    11  i:t  ir. 
in  m  10  m  nt  i»(  m  i« 

No.  2  with  BOLD  FACE  Mo.  2  (bAlSb) 
Em  Size,  .112 

Vs  U  %  y^  %  %  '/8  V^  %  Vs  %  %  %  V6  % 
^/H  V*  %  Va  yK  %  Vh  ¥.i  %  Vf.  %  %  ^/f,  Ml  % 

M  -1  «  n  S  4  s  3  3  &  a  5  r-  <i  li 

1  1 :»  J  s  :i  7  1  -^  1  a  :i  -*  1  n 
M  -1  N  :>  N  4  H  3  a  r.  r.  r>  n  41  «t 

TEXTYPE  with  BOLD  FACE  No.  2  (6A296) 
Special  No.  5.  Size,  .112 

Vb  V'4  %  Vi  %  =54  la 

V8V4%y2?8=»4''8 

No.  28  with  ANTIQUE  BLACK  No.  1  (6A74) 
Em  Size,  .1187 

Vi  V4  %  Vi  %  %  %  Vi  %  Vo  %  %  %  Vi  % 
/s  1/4  %  yz  %  %  Ve  Vz  %  Vs  %  %  ys  l-'s  % 


GOTHIC  No.  25C  with  GOTHIC  No.  26C  (bAlbS) 
Size,  .1245 

'S      U      ^8     '/2      %     ^4     'b 

'8  '/4  %  Vz  %  %  7g 

GOTHIC  No.  25  with  GOTHIC  No.  26  (6A170) 
Size,  .1383 

Vb  y4  %  ya  %  %  Va 

Va  yi  %  y^  %  ■'/4  ys 


6 1/2  Point 


ION  IC  No.  5  with  BOLD  FACE  No.  2  (bVj A2) 
Em  Size,  .1107 

>«V4%V^%%34Vi=;iV525%'V5V6^6 

V8V4%Vi%%%V^>aVi%%%V&% 

J.J  3  J..5i  7  12X2.3  1  15 
84&284BJ3555566 
1 i3 1537 12i| 31)5 
848^848  3  TES5.556ti 

Special  No.  1.  Em  Size,  .1107 
(Casts  on  6  point  body) 

Vi  V4  =!i  Vi  %  %  %  Vi  %  V4  %  %  %  Ve  % 

ys  V4  %  M:  %  %  ys  %  %  y-.  %  %  %  %  % 

I  13153712123415 
84a:;8483355  55  6  6 
1  i  a  I  s  M  7  t  2  1  -J  a  -1  1  n 


6»/i  Point 


IONIC  No.  5  with  BOLD  FACE  No.  2  (63/4A2) 
Size,  .1107 
(Casts  on  7  point  body) 

Vi  Vi  %  ¥2  %  %  T-i  Vi  %  Vs 

I'h  y,  %  y^  •%  %  %  %  %  'A 

Special  No.  1.  Em  Size,  .1107 
'a  '4^8  '258%%  >  b%  V3%%%  V6% 

%  Vx  Vh  Vz  %  %  %  ¥i  %  y,  %  %  %  y«  % 


7  Point 

TEXTYPE  with  BOLD  FACE  No.  2  (7A130) 
Em  Size,  .0968 

VsVi%V2%%%Vi%%%%'»~iB% 

y8y4%vi%%%y^%i/.%%.i^i^i.% 


No.  21  with  GOTHIC  No.  4  (7A102) 
Em  Size,  .098 

%  V4  %  y.  %  %  ys  ys  %  %  %  %  ys  v«  % 


'/a  1/4  %i/2  y8%%'/3y3i/5%%y5i/6% 

J13  1^37  12J2.s.;i5 


EGYPTIENNE  SERREE  No.  1  with  NORMANDE 
No.  4  (7A24)  Em  Size,  .1038 

y8yi%y2%=y.ys 

ysy.%yryH%% 
1 131 5.37 

84M2K48 
1  I  ;i  I  .5  :j  7 

.s  '.  m;  K  V  K 

No.  28  with  EGYPTIENNE  SERREE  No.  1  (7A20) 
Size,  .1038 

V8y4%y!%%y8 
i/^vi%y2%%y« 

No.  28  with  NORMANDE  No.  4  (7A40)  Size,  .1038 

viy4%vi%%% 

BELL  GOTHIC  LIGHT  and  BOLD  (7A188) 
Em  Size,  .1107 

V'B  V4  3/'8  V2  Vs  3.-4  Va  1/3 

V8V43/8I/2V83/4V8V3 

1  13153712123415 
848284833555566 


2  12  3  4  15 

3  S  5  5  566 


CENTURY  EXPANDED  with  CENTURY  BOLD 
(7A80)  Size,  .1107 

ys  V4  %  Vi  %  %  Ti 

v^8^y8y2%%y8 

EXCELSIOR  with  MEMPHIS  BOLD  (7A190) 
Size,  .1107 

V8V4%y25/8?4T8 

y8V43/8y2V83/4y8 

EXCELSIOR  No.  1  with  BOLD  FACE  No.  2 

(7A138)  Em  Size,  .1107 

''8  V4  %  V2  %  %  %  Vs  %  Vs  '^,  h  %  4/3 1/6  5/e 

! '« y.  •%  ya  -78  %  ys  ys  ?i  ys  %  %  -'^  vi  % 


EXCELSIOR  No.  1  with  GOTHIC  No.  3  (7A156) 
Em  Size,  .1107 

Vs  V4  %  Vi  %  ^I'l  %  1 3  %  %  %  %  *^ 

/8'/4?'8'/25&?4%y3%y5%%y5 


973 


Two -Letter,  Roman  with  Bold—4'  to  24<  Point 


LINOTYPE   FRACTIONS 


7  Point,  continued 

EXCELSIOR  No.  2  with  BOLD  FACE  No.  2 
(7A136)  Em  Size,  .1107 

Vs  V4  %  V2  %  %  %  1/3  %  Vs  %  %  %  Ve  % 

»/8  l/l  %  ¥2  %  %  Ys  1/3  %  1/5  %  %  5i  l/e  % 


EXCELSIOR  No.  2  with  GOTHIC  No.  3  (7A158) 
Em  Size,  .1107 


1/8  1/4%  1/2%%% 
!/8/4%/2%%% 


113 1 537 
8  4  8  2  8  4  8 
1131 537 
8482848 


IONIC  No.  5  with  BOLD  FACE  No.  2  (7A122) 
Em  Size,  .1107 

l/s  %  %  1/2  %  %  Vs  %  %  i/s  %  %  % 

Ji  M  %  1/2  %  %  %  ^3  %  1/5  %  %  % 


1    _3   __5_J7      9_1  11315 
ISlS  161(51  r>IBliiT« 

Special  No.  1.  Em  Size,  .1107 

i/3%y5%%ysi/6% 

1/3%  1/5  %%■*/.  1/6% 

113  1  537JL2  1.234J  5 
84  8  2  84  8  335  5S56S 


No.  2  with  BOLD  FACE  No.  2  (7A86) 
Em  Size,  .1107 

1/8  1/4  %  1/2  %  %  ys  i/a  %  1/5  %  %  %  1/8  % 

1/8 14  %  1/2  %  %  %  1/3  %  1/5  %  %  %  1/6  % 


No.  2  with  CONDENSED  TITLE  No.  3  (7A62) 
Size,  .1107 

%  14  %  14  %  %  % 

1/8 14%  1/2%%% 

No.  12  with  GOTHIC  No.  11  (7A118)  Size,  .1107 

14  %  %  14  %  %  %  1'3  % 
!/8!/4%'/2%%%!/3% 

No.  16  with  CENTURY  BOLD  (7A50) 

Em  Size,  .1107 

1/8 1/4  %  i/i  %  %  Vs  1/3  %  1/5  %  %  ys  y«  % 

1/8 14  %  1/2  %  %  %  1/3  %  1/5  %  %  %  %  % 

mmimnm ' 


OLD  STYLE  No.  1  with  ANTIQUE  No.  1  (7A48) 
Size,  .1107 

%y4HV2y8y4Vs 

TELETYPE  PARAGON  with  PARAGON  BOLD 
(7A186)  Size,  .1107 

1/81/4%  y2%%y8 
i^i/.%i.^%%y8 


1616T616161616T5 
_t_  3  _5  J7_JLlli315 


1  3  5  J?  9  1  1  1_^_1_5  1  719212325272931 
3  2!r2  3  232  3^!r2  3  23  2  3232  3  2  3^32323232 
_9_lil31517  19  2123  2527  2  93  1 
323232323232^23232323232 


_l_Jt  _5^_7 = 

32323^323 


No.  2  with  GOTHIC  No.  3  (7A30)  Em  Size,  .112 

Vs  y4  %  ¥2  %  %  %  Vs  %  Vs  %  %  %  Ve  % 

!/8/4%'/2%%%'/3%'/5%%%'/6% 


No.  1  with  BOLD  FACE  No.  1  (7A38) 
Em  Size,  .118 

i/s%%y2%%%%% 
%%%y2%%ysy3% 


No.  1  with  BOLD  FACE  No.  2  (7A90)  Size,  .118 

%y4%yo%%ys 
ys%%y2%%ys 

OPTICON  with  BOLD  FACE  No.  2  (7A166) 

Em  Size,  .118 

1/8  1/4  %  1/2  %  %  %  1/3  %  1/5  %  %  4/5  l/e  % 

1/8  14  %  54  %  %  K.  ys  %  i/^  %  %  %  Ve  % 


PARAGON  with  PARAGON  BOLD  (7A162) 
Em  Size,  .118 

1/8 1/4  %  1/2  %  y4  ys  1/3  %  1/5  %  %  %  l/e  % 

l/8l4%l/2%?478y3%l/52/5%%l/6% 
sSssilsss 

A1.3.15aXli 

S48284S35 

No.  1  with  GOTHIC  No.  4  (7A42)  Em  Size,  .1187 
i'sl4%^^%%%%%%%%%yi% 

ye  '/4  %  V2  Ya  %  ys  ys  %  1/5  2/5  ys  ys  ye  ye 


No.  2  with  BOLD  FACE  No.  1  (7A2)  Em  Size,  .126 
Is  I4  %  %  %  %  %  %  %  %  %  %  %  %  % 
1/8  1/4  %  1/2  %  %  %  1/3  %  1/5  %  %  ^/i  l/e  % 

11315371:2123415 
84SaM483  3  5B6566 
1 1315371 21 23415 
84H2S483 3 555566 

ife  A  A  T^T  i"s  IHHg 

J       3      6       7       91113  15 
IS  IB  TB  TS  IB  IB  IB  IB 

1_     a.J>_    7       9     111519212325272931 
3  2  32  32323232  3232323232323232 

No.  28  with  ANTIQUE  BLACK  No.  1  (7A22) 
Em  Size,  .1335 

Vs  14  %  %  %  Vs  1/3  %  Vo  %  %  %  1/6  % 

'/S  /4  %  !/2  %  %  !/3  %  /s  %  3/5  %  1/6  5/6 


71/2  Point 

TELETYPE  EXCELSIOR  with  BOLD  FACE  No.  2 
(7V2A22)  Size,  .1199 

y8y4%y2%y4% 
i/HM^iHysM'/s 

EXCELSIOR  with  MEMPHIS  BOLD  (7V2A24) 
Size,  .1245 
Vs  Vi  %  1/2  %  %  7/g 

'/a  1/4  ys  1/2  Vs  3/4  78 

EXCELSIOR  with  BOLD  FACE  No.  2  (7V2A6) 
Em  Size,  .1245 

Vs  y4  %  ¥2  %  y4  ys  ya  ya  Vs  ys  ys  ys  Ve  ye 

H  H  %  72  %  %  %  1/3  -/s  1/5  2/5  %  %  7o  % 

1 2  12  341 5 
5  3  5  5  5  5  6  6 
1  212  34 J  5 
3  35555U6 

IONIC  No.  5  with  BOLD  FACE  No.  2  (7V2A2) 
Em  Size,  .1245 

i/s  1/4  %  V2  %  %  %  V3  %  1/5  %  ys  y5  ye  ys 

1/8 1/4  %  1/2  %  %  %  H  %  Vo  %  %  %  l/e  % 


OPTICON  with  BOLD  FACE  No.  2  (7V2A10) 
Size,  .1245 

y8V4y8y2y8y4y8 
78M%y2%%y8 

PARAGON  with  PARAGON  BOLD  (7V2AI8) 
Em  Size,  .1245 
Vs  1/4  %  72  %  %  78 1/^  2/3  Vs  2/5  3/5  4^  l/e  5/6 
781/43/8 1/25/83/4  78J/&%V^2/5%4/&765/a 


AAAA^iHg^t 


734  Point 


EXCELSIOR  with  BOLD  FACE  No.  2  (73/4A2) 
Size,  .1245 
(Casts  on  8  Point  Body) 

y8y4y8y2y8y4y8 

78M%72%%78 


8  Point 

REMINGTON  TYPEWRITER  No.  2  with 
REMINGTON  No.  3  (8A422)  Size,  .0692 


TARIFF  TYPEWRITER  (8A434)  Size,  .0833 

113    15    3    7 

S  4  8  :;   H   4   8 


CHELTENHAM  CONDENSED  with  CHELTENHAM 
BOLD  CONDENSED  (8AI66)  Em  Size,  .1107 

78'/4y872787478'/3y375y575y57676 


DeVINNE  with  7  Point  CENTURY  BOLD  (8A230) 
Em  Size,  .1107 

y8y4y«y2y8%y8 

78 1/4  78 1/4%%  78 

nam 


ERBAR  LIGHT  CONDENSED  with  ERBAR  BOLD 
CONDENSED  (8A504)  Size,  .1107 

y8y4y8y2y8y4y8 
y8y4y8y2y8y4y8 

GOTHIC  No.  13  with  CHELTENHAM  BOLD 
CONDENSED  (8A318)  Size,  .1107 

'/8'/4%'/2y8y4V8'/3% 

787478727874787373 

GOTHIC  No.  13  with  DeVINNE  CONDENSED 

(8A204)  Em  Size,  .1107 

7874787278%7873%7575y576 

ys  y4  78  Vz  %  74  ys  y^  %  y*  Vs  %  Vo 

1131312 
8482433 

lliXll 2 

"84  824iy 

GRANJON  with  GRANJON  BOLD  (8A418) 
Em  Size,  .1107 

'A  %  'A  Vi  'A  'A  A  %  'A  'A  %  %  A  % 

y8l/478l/278747873l/s7s757sl/676 


974 


LINOTYPE    FRACTIONS 


Two-Letter,  Ruman  ivith  Bold— A:  to  'i^  Point 


8  P«iint.  <*oii(ititi<>(I 

MEMPHIS  LIGHT  with  BOLD  (8A442) 
Em  Size,  .1107 

Vs  Vi  %  '/2  %  %  '/ 8  1/3  2/3 1/5  2/5  3/5  Vs  1/6  Ve 

i/e  '/4  Vs  '/2  5/8  %  %  1/3  %  Vs  2/5  3/5  ■'/s  Vs  V6 


MEMPHIS  MEDIUM  with  MEMPHIS  BOLD 
(8A488)  Em  Size,  .1107 
Vi'/4%l'i%8%% '-32^  I  52  53^451^55 

Va  Vi  %  Vz  Vs  3/4  %  ',  '3  2/3  1/5  2/5  3/5  4,5  1/6  5/6 


METROMEDIUM  with  METROTHIIM  (8A414) 
Em  Size,  .1107 

Vs  V4  Vb  Vi  5/8  %  %  Vi  V3  Vs  Vs  Vs  Vs  Ve  Vs 

1/8  '4  %  V2  5/8  3/4  ya  '/3  %  '/s  %  3/5  %  '/e  % 


No.  17  with  CONDENSED  TITLE  No.  5  (8A242 
Em  Size,  .1107 


No.  21  with  ANTIQUE  No.  6  (8A282) 
Em  Size,  .1107 


y8V4  %!/:;%%  78 
l/8l/4%l/25/83/4% 


No.  26  with  ANTIQUE  No.  2  (8A126) 
Em  Size,  .1107 

1  7  1  2  I  s  :i  ^  )  .'. 


m 


OLD  STYLE  No.  1  with  ANTIQUE  ITALIC  No.  1 
(8A152)  Em  Size,  .1107 

4  3/b  l/o  5/Q^^7/o  1/ 


OLD  STYLE  No.  1  with  CHELTEN^IAM  BOLD 
(8A2I8)  Em  Size,  .1107 

V&  Va  Vs  'A  -H  ■)4  K  Vi  /j  Ks  -/o  f^  Vi  'A  H 


OLD  STYLE  No.  1  with  TITLE  No.  1  (8A134) 
Em  Size,  .1107 

ysAHA^ysV^ysViyiVsysVsVsVbH 
kiimmmm 

Ll 115  3  712  1  2 J4  IS 
8482848  33  555566 

OLD  STYLE  No.  1  with  TITLE  No.  2  (8A196) 
Em  Size,  .1107 

AAikA^i^hAl'syiA'  ^^  ^fiA^<, 

VhV4W/2%W/xV3%V5'/5Vs%V6% 
8  4  S  -J  «  1  8  3  3  S  (;  5 


RAILROAD  IONIC  No.  3  with  ANTIQUE  No.  2 

(8A124)  Size,  .1107 

SCOTCH  with  JENSON  C8A162)  Em  Size,  .1107 

■/iV4%y2%-y,%y3%' 5%%y5y6% 


TEXTYPE  with  BOLD  FACE  No.  2  (8A394) 
Em  Size,  .1107 

'/8  y4  %  y2  %  %  7/g  1/3  2/3 1/g  2/g  3/5  %  % 
Vs  y4%  %%%  %  M.%  %%%y6% 


UWILINEwith  TITLE  No.  1  (8A90)  Size,  .1107 

y%yAy%y^v%y^yi 

No.  2  with  BOLD  FACE  No.  1  (8A8)  Size,  .112 
Special  No.  1.  (High  Alignment) 

No.  12  with  GOTHIC  No.  11  (8A158)  Size,  .112 


No.  19  with  TITLE  No.  1  (8A40)  Em  Size,  .112 
(High  Alignment) 

Vs  ^4  %  Mi  %  •! :.  ■-;  V■^  %!-,%%  %  M;  A 

Vi.yi>,y%y2.Vzy^yzViyiyiyiysVsV(>V(> 

1  1 .3  1  .'-J  3  7  1  3  1  ;i  3  4  I  -. 
S-l  S2M4M33.'-,  .-1  .-..'■■  ;ii 

1 13  15  3  7  12 123415 
848  2  84833555566 

OLD  STYLE  No.  1  with  ANTIQUE  No.  1  (8A50) 
Special  No.  1.  Size,  .112 

'^AW/2¥i^A^^ 

ysVAHVzysHys 

No.  2  with  CONDENSED  TITLE  No.  3  (8Ab) 
Em  Size,  .1176 

Vs  Vi  Vs  Va  %  %  %  %  %  %  %  %  %  Vg  % 

?8  U  ?8  /2  %  94  74  ^3  ?3  /5  ?5  ?5  Is  ^6  % 


DeVINNE  with  ANTIQUE  No.  3  (8A164)  Size,  Ali 

%  k  %  V2  %  '54  ■  N  Vm  7i! "/:.  %  ■!5  4:;  V,i  "m 

Vs  y4  %  y2  %  %  ys  Va  %  Vs  %  %  %  Ve  % 

DeVINNE  with  ANTIQUE  No.  3  (8A16) 
Em  Size,  .118 
(High  Alignment) 

%  V4  %  M;  %  v:<  %  Vu  % ' -n  %  %  A  A  A 
Vs  Vi  %  V2  %  %  %  Vs  Va  V  fl  Vs  %  %  '/e  % 


DeVINNE  with  TITLE  No.  1  (8A23D 
Em  Size,  .113 

'  s  y  %  A  %  A  A  A  A  A  A  A.  A ' .;  ^,; 


No.  1  with  BOLD  FACE  No.  2  (8A194) 
Em  Size,  .118 


,  :<.:,  1; 


.  1.., 


,  1 : 


4,. 


2  's  71  :s  yj-:: 

1'  li  3'  14  5'  3i  7'  1.'  2'  li  24  3i  4;  1'  5/ 

78  /4  /8  /3  /8  /•*  /8  /J  /3  /5  /5  /5  /5  /6  /o 

I  1  :t  I  r.  3  7  1  ;j 

s  i  S  L'  S  t  S  3  .3 


No.  2  with  GOTHIC  No.  3  (8A70)  Em  Size,  .118 

(  High  Alignment) 

%V4%v^%%%yi%  %%%%%% 

Ys  '/4  %  14  %%  %  '/3%  /5%%y5 14% 

1  1  :i  1  .".  :j  7  1  i:  1  2  3  4  1  r; 


No.  4  with  CLARENDON  No.  1  (8A74)  Size,  .1)8 
(High  Alignment; 

ys'/4%'A'%%yH 

1.8M%?^%?4T4 

OLD  STYLE  No.  1  with  ANTIQUE  No.  1  (8/. 50) 
Em  Size,  ,118 

ysVAykyiyaVMyzyzVsysYsVsVeye 

}  1 3 1 5  371312  3  J 1  .'i 

113  15  3  7121  234 1 5 
84  8  2  84S3355S555 

Special  No.  1.  Size,  .112 

'Ay4y^A%V4A 
ysy4Hy2ysyAVs 

EGYPTIENNE  SERREE  No.  1  with  NORMANDE 
No.  4  (8A4b)  Size,  .1187 

VsVMV2ysyiV8V5W/5%Ve% 

}sA%A%'}iJk}5%AU}k% 

No.  28  with  EGYPTIENNE  SERREE  No.  1  (8A56) 
Em  Size,  .1187 

y8y4%y2y8%y8y3%y5%-y5y5y6y6 


No.  28  with  NORMANDE  No.  4  (8A92) 
Em  Size,  .1187 

%%%%%%  %yi%yi%%%'i;% 

^8  V4  %}i%  ?4  78  A  %  Va  %  %  A  A  % 


RUSSIAN  No.  11  with  ANTIQUE  BLACK  No.  2 

(8A58)  Size,  ,1187 

'M'/l%AA%% 

VB'AVBVzyBy^ys 

BELL  GOTHIC  LIGHT  and  BOLD  (8A508) 

Size,  .1245 

^  8  V4  ^/  8  V2  ^  8  -^4  ^.'8 
V8y»3/8y25'^%% 

CENTURY  EXPANDED  with  CENTURY  BOLD 

(8A122)  Em  Size,  .1245 

%  14  %  A  %\A  A  %  %  %  %  %  Ve.  % 

A  A  %  V2  A  V4  %  A  Vi  '/s  A  Vs  Vi  '/6  Vi, 


CLASSIC  with  CENTURY  BOLD  (8A1O8) 
Em  Size,  .1245 

AAAAAAAAAAAA'AA% 
'/i  W  %  Vi  %  A  A  Vi  A  Vs  Vs  Vs  As  A  % 


CLOISTER  WIDE  with  CLOISTER  BOLD  (8A374) 
i  111  Size,  .1245 

'  «  1  4  ^8  V2  '  8  ;  4  "  8  I  3  -  »  '  ^  ■:  5  S  %  Vi,  % 

' «  y4  Vs  V2  Vh  Va  ?'8  Vi  Vi  Vs  2/5  Vs  Vs  Vf,  Vf, 


975 


Tivo -Letter,  Roman  with  Bold— 4:  to  24^  Point 


LINOTYPE   FRACTIONS 


8  Point,  cnntinued 

EXCELSIOR  with  MEMPHIS  BOLD  C8A502) 
Em  Size,  .1245 

Vs  1/4  %  1/2  %  %  %  1/3  %  Vs  %  %  4/5  Ve  % 
'/8 1/4  %  1/2  5/8  %  %  V3  %  Vs  %  %  Vs  Ve  Vs 


EXCELSIOR  No.  1  with  BOLD  FACE  No.  2  (8A424) 
Em  Size,  .1245 

V8y4%y2%%y8%% 

Vs  Vi  %  1/2  %  %  %  1/3  % 


EXCELSIOR  No.  2  with  BOLD  FACE  No.2(8A440) 
Em  Size,  .1245 

Vs  1/4  %  1/2  %  %  Vs  1/3  %  1/5  %  %  4/5  Ve  % 
Vs  M  %  ^2  %  V*  %  1/3  2/3 »/,  2/5  %  %  J/e  ye 


EXCELSIOR  No.  2  with  GOTHIC  No.  3  (8A468) 
Em  Size,  .1245 

1/8  1/4%  1/2%%  78  1/3% 

!/8!/4%'/2%%%/3% 


IONIC  No.  5  with  BOLD  FACE  No.  2  (8A382) 
Em  Size,  .1245 

1/8  ¥4%  i/2%%y8  %%  1/5%%%  y6% 

1/8  M  %  1/2  %  M  %  1/3  2/3 1/5  2/5  %  %  1/0  % 


No.  16  with  CENTURY  BOLD  (8A128) 
Em  Size,  .1245 

Vs  %  %  V2  %  %  %  1/3  2/3  Vg  %  %  %  ye  % 

y*  y4  %  Vi  %  %  %  Vi  Vi  Vs  v^  %  %  Vt  % 

HUAUhUUfM 


PARAGON  with  PARAGON  BOLD  (8A462) 

Em  Size,  .1245 

yg  y*  %  y2  %  %  yg  ys  % 

Vs  Va  Vs  1/2  %  M  7s  1/j  2/3 

113i53Ilgl23415 
843:2S4833B&g&C6 

S»82S48335.5  5.>fi« 

GERMAN  No.  3  with  BOLD  FACE  No.  2  (8A20) 
Em  Size,  .133 


\k  %  %  1/2  %  Vs 


y*  %  %  %  Mi  % 


Huuuuum 


CENTURY  EXPANDED  with  CHELTENHAM  BOLD 
(8A254)  Em  Size,  .1383 

yg  %  %  y2  %  ys  ys  %  ys  2/5  %  ye  % 

^4  14  %  I'z  %  %  Va  %  }i  %  %  \^  % 


^  A  ^  A  ft  ii  11  it 


it's   32   ^  3^ 


b"?  B  ¥  8%  5^ 


CHELTENHAM  WIDE  with  CHELTENHAM  BOLD 

(8A156)  Em  Size,  .1383 

Vs  14  %  !/2  3/4  ^8  !/3  2/3  !/5  2/5  ^5  !/6  5/6 

yg  1/4  %  1/2  y*  %  1/3  %  1/s  Ys  ys  Vs  ys 


ELZEVIR  with  CHELTENHAM  BOLD  (8A104) 
Em  Size,  .1383 

y&'AH'AysVAVs'AVs 

%V4.%^%%  Tb  Vs  % 


GOTHIC  No.  3  with  TITLE  No.  2  (8AI68) 

Size,  .1383 

Vs  1/4  %  /2  %  %  % 
l/8^/4%y2%^/4% 

GOTHIC  No.  16  with  CHELTENHAM  BOLD 
(8A320)  Size,  .1383 

Vs  V4  Vs  V2  Va  Vs  Vz  %  Vs  Vs  Vs  Ve  ye 

i/s  1/4  yg  1/2  Va  %  1/3  ya  1/5  ys  ys  Vs  ye 

METROBLACK  with  METROLITE  (8A410) 
Em  Size,  .1383 

Vs  y4  Vs  Vz  Va  Vs  Vz  Vi  Vs  Vs  Vs  Ve  Ve 
Vs  Va  Vs  Vi  Va  Vs  Va  Vi  V5  %  V5  Ve  Ve 


METROLITE  No.  2  with  METROBLACK  Wo.  2 
(8A520)  Size,  .1383 

VsVaVs'AVsVaVs'A 
VsVAVsViVsVAysVi 

No.  1  with  TITLE  No.  2  (8A192)  Em  Size,  .1383 
Vs  Va  %  1/2  %  ys  ys  2/3  Vs  %  %  i«  % 

1/8  %  %  Vz  Va  Vs  Vi  %  1/s  ys  ys  1/6  % 

uwiimnuvi 


No.  2  (High  Alignr  ent)  with  10  Point 

CLARENDON  No.  1  (8A88)  Em  Size,  .1383 
(Aux.  Position  Casts  on  10  point  body) 

i/s  Va  %  V2  %  yg  ys  2/3  ys  %  %  ye  % 


;s? 


1131537121234  15 
84 8  2 8 4 8 3 3 5 5 5 5 6 6 

OPTICON  with  BOLD  FACE  No.  2  (8A482) 
Em  Size,  .1383 

1/8  1/4  %  1/2  %  ys  1/3  2/3  1/5  2/^  ^5  Vs  % 

1/8  1/4  Vs  1/2  M  %  1/3  2/3  Vf,  2/.  %  1/e  5/g 


GOTHIC  No.  3  (High  Alignment)  with  10  Point 
CLARENDON  No.  1  (8A66)  Size,  .140 
(Aux.  Position  Casts  on  10  point  body) 

14  1/4  ys  Vz  Vs  Va  Vs 

GOTHIC  No.  3  with  10  Point  CLARENDON  No.  1 

(8A144)  Size,  .140 
(Aux.  Position  Casts  on  10  point  body) 
1/0  I/-,  3,4  I/,  5Z  3/1  74 


y8y4%y2%y4yj 


8 


IONIC  No.  1  with  10  Point  CLARENDON  No.  1 

(8A178)  Size,  .140 

(Aux.  Position  Casts  on  10  point  body) 


y8y4%y2y8y4y8 


IONIC  No.  1  (High  Alignment)  with  10  Point 
CLARENDON  No.  1  (8A62)  Size,  .140 
(Aux.  Position  Casts  on  10  point  body) 


y8y4%y2y8%% 

No.  2  with  BOLD  FACE  No.  1  (8A8)  Em  Size,  .140 

(High  Alignment) 

i/g  1-4  %  y2  %  yg  i/s  2/3 1/5  %  %  i/e  % 

Vs  Va  %  Vi  %  %  %  %  Vs  %  %  Ve  % 


Special  No.  1.  Size,  .112 
VaV2Vz% 

1/1/1/2/ 
/4/2/3.3 


No.  28  with  ANTIQUE  BLACK  No.  1  (8A52) 

Em  Size,  .1483 

i/s  %  1/2  %  ys  i/s  %  %  %  %  %  % 

Vs  Va  Vz  Va  Vs  Vz  %  Ys  %  Vs  Ve  Ve 


GOTHIC  No.  16  with  TITLE  No.  4  (8A206) 
Em  Size,  .166 

Vs  Va  Vz  Va  Vs  Vz  Vz  Vs  Vs  Ve  Ve 
Vs  1/4  %  ?4  Vs  V3  %  Vs  %  \k  % 


GOTHIC  No.  25  with  GOTHIC  No.  26  (8A266) 
Em  Size,  .1798 
(Casts  on  10  point  body) 

Va  %  %  Vz  %  %  % 

V^  V,   3/c  Vr.^/c  %7/^ 


/2   /i 


/4    /i 
1    13  15  3  7 
8  4  8  2  8  48 


9  Point 

MEMPHIS  LIGHT  with  BOLD  (9A140) 

Em  Size,  .124? 

y8y4y8'/2y8y4y8'/3  2/3 
i/s  1/4  yg  1/2  ys  y4  ys  ya  2/3 


OLD  STYLE  No.  1  with  ANTIQUE  No.  1  (9A48) 
Em  Size,  .1245 


TEXTYPE  with  BOLD  FACE  No.  2  (9A118) 

Em  Size,  .1245 

1  8 1/4  %  1/2  %  %  %  1/3  2/3 1/5  %  %  %  Ve  % 
1/8  ¥4  %  1/2  %  %  Vs  1/3  %  1/5  2/5  %  %  Vg  % 


976 


LINOTYPE   FRACTIONS 


Two -Letter,  Roman  with  Bold—4>  to  24  Point 


9  Point,  eontlnued 

GERIVIAN  No.  3  with  BOLD  FACE  No.  2  (9A10) 

CLASSIC  with  CENTURY  BOLD  (10A86) 

Em  Size,  .148 

Em  Size,  .1383 

DeVIIMNE  with  ANTIQUE  No.  3  (9A6) 
Em  Size,  .126 

^^V4%14-^^^^%%%%V(;% 

!/8!/4K!/23/47/8/3y3!/52/54/5/65/6 

VHW/sy2WAYMV:,%%%Vi-.% 

ysyAysyzHyz%y^%y^yeye 

'/8  '/4  %  Yz  %  %  Vi  %  Vs  %  Vs  '/6  % 

ViVMV2ViVzVzV3Vr,%WAVG''A 

\hh 

iH'Mlh^hUih? 

uumumui 

hii 

1    13  1   537  1  2  123  4  J  i! 

DeVINNE  with  10  Point  GOTHIC  No.  4  (9A42) 
Em  Size,  .1335 
(Aux.  Position  Casts  on  11  point  body) 

%  Va  %  /2  %  Vs  Vz  %  ys  2/5  %  ys  %  % 


.113153712123415 
$4828 4 8335555  66 

JL_L_5__LA111315 
16   16  16   16   16   16   16   16 

No.  28  with  NORMANDE  No.  4  (9A24)  Size,  .1335 


yy  ¥4%  ¥2%  ^478  ¥3% 

yHJ/4%y2%y4"/8%% 


CENTURY  EXPANDED  with  CENTURY  BOLD 
(9A72)  Em  Size,  .1383 

>  So  5  6  6 

EXCELSIOR  with  BOLD  FACE  No.  2  (9Al3fe) 
Em  Size,  .1383 

Vs  1/4%  1/2%%%  1/3  2/3 
1/8  ¥4  %  %  %  %  7/8  Va  % 

1.1315  3  7 

"84  8284  8 

113  15  37 

8  4  8  2  8  4  8 

EXCELSIOR  with  MEMPHIS  BOLD  (9A166) 
Size,  .1383 

l/8l/4%l/2%%?8 

1/81/4  3/81/25/8  3/4% 

IONIC  No.  5  with  BOLD  FACE  No.  2  (9A112) 
Em  Size,  .1383 

Vs  1/4%  y2%y8  y3%  1/5%%  y6% 
Vs  ¥4%  y2%y8y3%  y5%y5  y6% 


No.  16  with  CENTURY  BOLD  (9A56) 

Em  Size,  .1383 

y8  y4  %  y2  %  ys  v^  %  ys  %  %  yo  •?{; 
ys  y4  %  V2  %  y%  Vz  %  v^  ys  %  ye  ye 


X13153712 
84  8  2S4S3-3- 

T^  f's  IG  IB  tS  iJ  il  \i 

JL  _3.  _5_  J7_  _9_  11  13  15 
16   16   16   16   16   16  16   16 

OPTICON  with  BOLD  FACE  No.  2  (9A162) 
Size,  .1383 

1/8 1/4  %  1/2  %  %  %  1/3  2/3 

Vs  ¥4%  1/2%%%  1/3% 

PARAGON  with  PARAGON  BOLD  (9A158) 
Size,  .1383 
V8l4%l^%T8l3%V5254il, 

V8  Vi  %  ¥2  %  %  1/3  2/3 1/5  2/5  4/5  \{ 


No.  28  with  ANTIQUE  BLACK  No.  1  (9A34) 
Em  Size,  .1632 


Ys  'A  %  Yz  %  %  % 

I    1  ;t  1  . 


1 13153712123415 
848284833555566 


No.  2  with  BOLD  FACE  l\lo.  1  (9A4O) 
Em  Size,  .166 

V8  ¥4  ^'8  V2  %  %  y8 
yHViyHVz%%ys 
ys  %  M  2/5  %  %  Vg  % 

113  15  3  7    12    1    2  .-i  4   1  .5 
8  4  8  2  a  4  H  :!  3  .".  ,">  :>  5  5  1; 

1  1  Ml  5.J7  1  ai  a. -{4  1  .-> 

8  4  H  a  M  I  .s  .-J  :i  r>  .■>  .->  .-> « <> 


1(5   1(1  1(1  i(T  a 


1. 1      1  •■.!     1  5 


1     3    5     y  _!>_  jLi  ia  ill 

IS  16  IB  1  <>  1(>  IB  IB  IB 


10  Point 

No.  21  with  ANTIQUE  No.  6  (10A124)  Size,  .0692 

liai">31 
K482S48 

1 131637 
84  8  2  84  8" 


ERBAR  LIGHT  CONDENSED  with  ERBAR  BOLD 
CONDENSED  (10A416)  Em  Size,  .1245 

Vs  %  %  Vl  Vs  %  Vs  '/3  %  Vs  %  ys  Vs  V6  V6 

Vs  Vi  Vs  Vl  Vs  Vi  Vs  Vs  Vl  Vs  Vs  Vs  Vs  Vt.  Vf> 

t 11153  7 
'84  8  2  84  8 
1131 537 
84  8  284S 

GRANJON  with  GRANJON  BOLD  {10A376) 
Em  Size,  .1245 


/8y4y8y2y8y4y8y3y3 


IVIEMPHIS  MEDIUM  CONDENSED  with 
MEMPHIS  BOLD  CONDENSED  {10A486) 
Size,  .1245 

y8'/4%%% 

1/8  1/4  5/8  3/4% 

MEMPHIS  MEDIUM  CONDENSED  with 
MEMPHIS  EXTRA  BOLD  CONDENSED 

(10A494)  Size,  .1245 

'/8'/4'/2  5/b% 
1/81/41/25/8% 

CHELTENHAM  CONDENSED  with  CHELTENHAM 
BOLD  CONDENSED  (10A142)  Em  Size,  .1383 

'/8'/4M'/2%78'/3y3'/52/54/5y65/6 

V8y4%y2y4y8V3%y5%y5y6y6 

1  131S3712123415 
8  4  8  2  8  4  8  3  3  5  5  S  S  6  6 

1  13  153712123415 
84  8  a  8  4  8  3  3  5  5  5  5  6  6 


8  4  8  2  8  4  S  3  3  .<  .S  S  .S  (,  0 


CLOISTER  WIDE  with  CLOISTER  BOLD  (IOA3O6) 
Em  Size,  .1383 


ys  'A  Vb  Vz  'A  %  Vi  2/3 1/5  2/5  4/5 1/^  5/^ 

iiii 'IZl 2 12341 1 
84828483355556  () 

ii3.X5.Jl.71  2  12.^4  IS. 
848284833555566 


EXCELSIOR  with  BOLD  FACE  No.  2  (10A380) 
Em  Size,  .1383 

ys  y4  %  1/2  %  %  2/3 1/5  2/5  %  y5  Vq  % 
ys  y4  %  v-i  %  %  %  %  2/5  %  4/5  %  •% 

1131537121234  15 
8  4  8  2  8  4  "8  3  3  5  5  .5  5  6  6 

1131537 1 2 ) 234 15 
84  8  2  8  4  8  335  5  5  5  «  6 

EXCELSIOR  with  IVIEMPHIS  BOLD  (10A466) 
Em  Size,  .1383 

1/8  y4%y2%  3/4  78  1/3  2/3 


1/8  1/4  3/8  1/2  5/8  3/4  7/3  1/3  2/3 


_1  13  15  3  7 
8482848 
113  15  3  7 
8  4  8  2  8  4  8 


GOTHIC  No.  13  with  CHELTENHAM  BOLD 

CONDENSED  (10A286)  Size,  AlHi 

'/a  '/4%  '/2  3/47/8  VzVz  '75%%  '/6  Ve 

y8y4y8y2y4y8y3y3y5y5y5y6y6 


GOTHIC  No.  13  with  DeVINNE  CONDENSED 

(10A154)  Em  Size,  .1383 

y8y4y8y2y8y478y3y3y5 

'/8'/4y8y2%y4y8'/3y3ys 

1  1  3_1  5371  2 
848284833 

I  I  3  I  5  3  7  I  2 
S  4  8  2  8  4  8  3'3" 


GOTHIC  No.  44  with  GOTHIC  No.  42  (10A456) 
Size,  .1383 

VzVi 

V2% 

MEMPHIS  LIGHT  with  BOLD  (10A398) 
Em  Size,  .1383 

Vb  Va  3/8  1/2  3/4  7/8  Vz  2/3  1/5  2/5  4/5  l/e  5  /g 
l/a  1/4  3/8  1/2  3/4  7/8  1/3  2/3  1/5  2/5  4/5  1/6  5/6 

113  15371 123415 
§482  8  4  g  3  5  5  5  5  6  6 

11315371123415 
8  4  8  2  8483  5  5556  6 


METROMEDIUM  with  METROTHIN  (10A370) 
Em  Size,  .1383 

ys  y4  3/'8  Vl  y4  Vz  ys  y^  Vs  ys  rs  ye  ^  ^s 
/s  y4ys  !A  347/8 1/3%  1/52/54/5  i/g5/e 

1  1  31  537 
8  4  8  2  8  4  8 

1  131537 
8482838 


977 


Two -Letter,  Roman  with  Bold— 4  to  24  Point 


LINOTYPE   FRACTIONS 


10  Pnint.  continued 

OLD  STYLE  No.  1  with  ANTIQUE  ITALIC  No.  1 
(10A128)  Em  Size,  .1383 


liaisai 

B48  284.S 

11315  3 7 
84  8  2  848 


OLD  STYLE  No.  1  with  CHELTENHAIVI  BOLD 
(10A158)  Em  Size,  .1383 

Vs  Va  ¥^  Vi  Ya  %  Vi  -A  V^yiYiYk  Ye 

y8V4%y2y4%y3%V5%y5V6V6 

Iiai5  3ia2i2sii5^ 

8  48  2848  33  r)5  5  5(;(J 

1_13  1__5_37  1_3  1  2  34_15 
84  8  2  8  4  8"3  3  5  5  5  5  6  6 

_1    _3 S 7   _9  111315 

i(Ti(;i(ii()i(>i6i(;i(i 

JL  4,  -5_  _7_  JL  XX  13  15 
16  IS  16  16  16  16  16   16 

OLD  STYLE  No.  1  with  TITLE  No.  1  (10A120) 
Em  Size,  .1383 


.fiaiaaiaiiaii! 

54  82848  3  55o5(;(; 


11 31S 3 7112  34  15 
8  4828  48  3  55  5  5  66 


SCOTCH  with  JENSON  (10A138)  Size,  .1383 

y8y4%y2%%'/8y3% 
YiYAYsYzyBy^yiYzYz 

TEXTYPE  with  BOLD  FACE  No.  2  (10A322) 
Em  Size,  .1383 

%  1/4  %  V2  %  %  Va  %  1/5  %  4/5  1/6  % 

Vs  ¥4  %  1/2  %  %  1/3  %  1/5  %  4/5 1/6  % 

11 315371 
848284g3' 
11315371 
84828483 

UNILINE  with  TITLE  No.  1  (10A72) 
Em  Size,  .1383 

y8y4%y2y4y8y3%y5y5y5y6% 


11315  3  7.1  2^1  2  3  4.15 
8  4  8  2  8  4  8  3  3  5  5  5  5  6  6 

1  1 3153 71  2  1 2  3  415 
84  8  2"8  48"33  5  555  66 

DeVINNE  with  ANTIQUE  No.  3  (10A12) 
Em  Size,  .140 

y8y4%y2y4y8y3%y5%%yG% 
y8y4%y2y4y8y3y3y5%y5y6y6 

1131.5  311  212  3  415 
8  4  8  2848  33  5  5  5  5  U  (i 
113153712123415 
8  '4  8  2  8  4  8  3  3  6  5  5  56  6 

DeVINNE  with  TITLE  No.  1  (10A206) 
Em  Size,  .140 

y8y4%y2%y4y8y3%y5%%% 
Y%y^Y?y2Y%y^Y%Y2YzYsY5ysVs 

11 3 J  5^112 
848  2  84833 

11315  3  712. 
848284833 

No.  13  with  CLARENDON  No.  1  (1CA56) 
Size,  .140 


y8y4%y2%y4y8 
y8y4%y2y8%y8 


OLD  STYLE  No.  1  with  ANTIQUE  No.  1  (10A44) 
Em  Size,  .140 

ViYAY&Y2YAY^YYYiYYYiYsY(>Y(> 


113.15  3X12.1.2.34.15 
84828483355556  (! 

11 3 IS  3 7 1 2 12  3 4 IS 
8482  848  3  35  5  5566 


GERMAN  No.  3  with  BOLD  FACE  No.  2  (10A38) 
Em  Size,  .148 

y8y4%y2y4y8y3y3y5y5y6% 

i/si^MyaMysi/s^i/syoi/eye 

113  15aT12ia3il5 
8  4  8  2  8  4  8^  3  ^  5  5  5  .5  (i  (i 

113153712123415 
8  '4  8  2  8  4  8  3  3  5  5  5  5  6  6 


No.  14  with  CLARENDON  No.  1  C10A176) 
Size,  .1483 


No.  28  with  EGYPTIENNE  SERREE  No.  1 

(10A68)  Size,  .1483 

y8y4%y2%y4y8y. 
y8y4y8y2%y4y8y6 


No.  28  with  NORMANDE  No.  4  (10A74) 
Em  Size,  .1483 

1/8 1/4  •■/8  1/2  %  y8 1/3  %  1/5  %  M ;  % 

y8yry8y2%y8y3%y5y5y6y6 

1115  3X12.121415 
8428483  3  555506 

1115  3  712123  415 
8  4  'i  8  "4  8  3  3  5  5  5  5  6  € 

CENTURY  EXPANDED  with  CENTURY  BOLD 

(10A112)  Em  Size,  .1522 

y8y4%y2%y8y3%y5y5yc% 
'/s  Va  y*  '/2  y4  %  »/3  y3  '/s  ys  '/6  ya 

liaj  53  71212  3415 
8  4  3  284  8  335555  (!  (i 

11_3  I  S  iXJ  i   \_1   3  4  15. 
8  4  8  ZS  4  8  3  3  S  S  S  S  6  6 


IONIC  No.  5  with  BOLD  FACE  No.  2  (10A392) 
Em  Size,  .1522 

1/8  1/4  %  1/2  %  78  1/3  y3  1/5  Vs  Vg  % 

1/8  y4  %  1/2  y4  ys  1/3  y3 1/5  %  ye  ye 


No.  2  with  CONDENSED  TITLE  No.  3  (10A114) 
Em  Size,  .1522 

1/8 1/4  %  y2  y4  78  ys  ys  ys  ys  ye  yo 


iiai5.ai2 

?48  28  48  3 

11315372 

8-i«!i.S4S3 


No.  2  with  GOTHIC  No.  3  (10A162) 
Em  Size,  .1522 

1/8 1/4  ys  1/2  y4  ys  y?  y3  y  yo  v^  % 

Vz'AYs'AY^/sVzVzVsVs'AVe 

iiaisaxj  2123415 

8  4  8  2  8  4  8  3  3  5  5  5  5  (i  (J 
11  3  15  3  712121415^ 
84828  4  8  33555566 


^3  y3 1/5  ys  yoyo 


No.  16  with  CENTURY  BOLD  (10A116) 
Em  Size,  .1522 

y8y4y8y2y4y8i/ 

'/s  Va  %  Vi  Va  %  Vi  Vi  '/s  ys  Vd  % 
iiaisaxii 

848284833 

IJ  A  J   S  3.X1  2 
8  48  2"8  4  8  3  3 

OPTICON  with  BOLD  FACE  No.  2  (10A470) 
Em  Size,  .1522 

1/8  1/4  %  1/2  3^  7/8  1/3  2/3  1/5%  Vq % 
1/8  1/4  %  1/2  %  %  1/3  %  1/5  %  1/6  % 

11315  3  7 
84  8  2  848 

113153  7 

8  4  8  2  8  4  8 

PARAGON  with  PARAGON  BOLD  (10A450) 
Size,  .1522 

1/8  1/4  %  1/2  %  %  1/3  2/3 1/5  2/5  %  % 
1/8  ¥4  %  1/2  %  %  1/3  %  1/5  %  %  4/5 


CENTURY  EXPANDED 

(10A208)  Em  Size, 

with  CHELTENHAIVI  BOLD 
166 

y^y^y?,y'iYzy^v^ 

y^y^v^y^y^ 

y4y8 

M3-%y-sy5%y5y6% 

ysys  1/5  ysys 

ysi/eye 

113153 7121 
848284833  5 

23415 
5  5  5  6  6 

UUIHHIUH^ 

13       5       7       9 
3  2  3?  3  2   32    3  2 

HMM 

_l_-3__5_    7       9 
33   33  33   32   33 

11   13   15 
32  32   32 

IX  19    21  23    2  5 
3232323232 

iIMM 

17   19  21   23  25 
32   32  32   32  32 

27   29  31 
32   32   33 

CHELTENHAIVI  WIDE  with  CHELTENHAIVI  BOLD 
(10A134)  Em  Size,  .166 

y^YAy^YiY^Y^y^ 

y^y^y^y^y% 

y4y8 

Y^YiY^Y^Yo 

4/5/55/6 

i/sysi/sysysysi/eye 

11315^3712  123415 
8  4  8  2  8  4  8  3  3  5  5  5  5  6  6 

1  13153712123415 
8"  4  8  2  8  4  8  3  3  5  5  5  5  6  6 


DeVINNE  OUTLINE  with  BOLD  FACE  No.  6 

(10A276)  Em  Size,  .166 


Y%Va' 


/4  78 


y8M%y2%%y8 

Y^Y^Y^Y^yny^Y^% 

y3ysy:iV5%y5yG% 

J  J.  3  J  B_3J 

113  15  3  7 

8482848 


ELZEVIR  with  CHELTENHAIVI  BOLD  (10A84) 
Em  Size,  .166 


y8y4y8y2y8y4y8 

Ys  Ys  Ys  Ys  Ys  Ys  Ye  Ye 

1/3  y3 1/5  y5y5  4/51/6  ye 

naiA  axi  2 

^48284833 
113153712 
8  4  8  2  8  4  8  3  '3 


978 


LINOTYPE    FRACTIONS 


Two-Letter,  Roman  loith  Bold—^  to  24  Point 


1 0  Point,  c>o  11  ft II lied 

No.  28  with  ANTIQUE  BLACK  No.  1  (10A152) 

OPTICON  with  BOLD  FACE  No.  2  (11A138) 

Em  Size,  .178 

Size,  .1522 

GOTHIC  No.  3  with  11  Point  GOTHIC  CONDENSED 
No.  1  (10A102)  Em  Size,  .166 

%'A%'/2  %  71    % 

MiW^UVi^^kVi 

(Aux.  Position  Casts  on  11  point  body) 

Vz  'A  %  V2  y4  %  Vz  %  'A  %  ys 

Vz'A%V2WAVzV2V5V5% 

113  15  3  7  12 
8  4  8  2  8  4  8  3  3 
113  15  3  7  12 

Vs  'A  Vz  V2  %  y4  ys 

M',  y;  y  %  %  y  M:  % 

Vz  Vz  /s  2/5  3/5  4/5  i/e  % 

V«V4%V2%%% 

DeVINNE  with  ANTIQUE  No.  3  (llAlb) 
Em  Size,  .154 

1 1  •■!  1  5  i  1  J  1  a  :\  4.  1  •-> 

S   4   S   2   .S    +  S    .H   .-)   5   5   .")   C,  1; 

%Vv}i^V%V<VnUV%%% 

8  4  8284833 

11315371125415 
8  4  8  2  8  4  8  3  5  5  5  5  6  6 

VzVaV^V2%VzVz%V,V,%% 

GOTHIC  No.  3  with  12  Point  DeVINNE 

ANTIQUE  No.  3  with  12  Point  GOTHIC 

1    1  .3  1  .-.  .3  7   12  12  3  4  1  .-, 
«  1  s  2  .s  4  K  :i  .3  ."> ."« .") .")  1;  1; 

CONDENSED  (10A136)  Em  Size,  .166 

CONDENSED  No.  1  (10A70)  Em  Size,  .1798 

1131537121234  15 

(Aux.  Position  Casts  on  12  point  body) 

(Aux.  Position  Casts  on  12  point  body) 

84  8  2  848  3  3  5  5  5  5  6'6 

Vs'A%V2%%YbVz''A 

ys  Va  Vz  V2  %  Va  Vz 

'AVi'AVi'A'A'A'AVi 

V^VaW/2%WM 

OLD  STYLE  No.  1  with  ANTIQUE  No.  1  (11A22) 
Em  Size,  .154 

113  15  3  7  12 
8  4  8  2  8  4  8  3  3 

Vz  Vz  Vf,  V,  V.  Vo  V,  ye 

'iv^nYHYi^^ysYiy^ 

1  1  3  1  S  3  7  1  2 

8  4  »  2  8  4  8  3  "3 

'h'^AV^y^y^V^VB^ 

v%VAV%VzVzVA'AyzVzys 

1    13153712123415 

1.1  3J   -,3X12123il  •-. 

8  4  8  2  8  4  8  3  3  5  5  5  5  6  6 

s  4  s  2  s  4  .S  .3  .3  .-)  .■)  h  r,  1;  c, 

GOTHIC  No.  16  with  CHELTENHAIVl  BOLD 

113153712123415 

113153712123415 

(10A288)  Em  Size,  .166 

8  4  8  2  8  "4  8  3  "3  5  5  5  5  6  6 

8  4  8  2  8  4  8  3  3  5  5  5  5  6  6 

V8V4y8y2y8y4y8 

GOTHIC  No.  16  with  TITLE  No.  4  (ioAl56) 

Fm  Size      1 Q37 

GERMAN  No.  3  with  BOLD  FACE  No.  2  (11A24) 

y8y4y8y2y8y4y8 

ysyaysysysysyeye 

y3y3y5y5y5y5y6y6 

Clll    JlZc,    .  i  7 .?  / 

Vz  V^  Vz  V2  Vz  V^  Vz 

Vz  Va  Vz  Vz  Vs  Va  Vz 
Vz  Vz  Vs  Vs  Vs  Vs  Ve  Ve 

Em  Size,  .163 

%^4%y>%%y: 

1  1  3   1  .T  3  i  1  .-. 

1l_1  3. 
4  2  4 

113 

Vz  Vz  Vs  Vs  Vs  Vs  /e  ye 

8  4  S  2  .H  4  «  (J  1; 
113153715 

4  2  4 

113153712123415 
8  4   8  2   8  4  8   3   3   5   5   5   5  6"  6 

84 8 2 84 8S 6 

113153712123415 
84828483  "3    5"   55566 

CONDENSED  No.  2  with  ANTIQUE  BLACK  No.  3 

GOTHIC  Wo.  45  with  GOTHIC  No.  43  {10A458) 

(IIA68)  Em  Size,  .1632 

Size,  .166 

GOTHIC  No.  25  with  GOTHIC  No.  26  (10A228) 
Size,  .2109 

ysy4y8yL'%y4ys 

V4V2V4 

y8y4y8y2y8y4y8 

y8y4y8y2y8y4y8 

/a  Va  ys  V^  %  Va  Va 

A--:\r,-rA:,V\iV'i^ 

METROBLACK  with  METROLITE  (10A364) 
Em  Size,  .16b 

V3V3V5V5%y^VeVe 

1/8  V4  ys  V2  y4  ys  Vs  Vs  Vs  ys  Ve 

11  Point 

113   I  r.3  7 

s  -1 1?  2  ,H  4  K 

Vs  V4  %  Vz  yi  Vs  V3  Vs  V5  ys  Ve 

GRANJON  with  GRANJON  BOLD  (nAll4) 
Em  Size,  .1245 

1131537 
8482848 

J  J-  3  1_  5  3  7  12  1   2  3  4  1 

1/  1/  1/  1/  ^/   ?/  7, 

84828483355556 

/8  ''4  /8  Vl  /8  %  /'» 

11315371212341 
8  4  8  2  8  4  8  3  3  '5  5  5  5  5 

/8'/4/8'/2/8/4/8 

12  Point 

1        3       5       7       9     1113    15 
16  16    16  T6   16    1  6    16    1  6 

1  1  3  1  S  37 
8  4  K  2  K  4  8 

GOTHIC  No.  15  with  BOLD  FACE  No.  4  (12A44) 
Size,  .1107 

1        3       5       7       9     1113    15 
16    16    16    16    16    16    16    1  6 

il  3 1  5  3  7 
84  8  2  8  4  H 

113   15   3   7   12 

8  4  iB  2  8  "4  8  '3  3 

CENTURY  EXPANDED  with  CENTURY  BOLD 

.1  J. ;{ X  5  3  7  J  2 

IVIETROLITE  No.  2  with  METROBLACK  No.  2 

(11A70)  Em  Size,  .1522 

fs  4  s  2  «  4  8  ;i ;{ 

(10A482)  Size,  .166 

ysVAysViysVAVs 

VsVAVBVzViV^Vz 

%y78V2%%yi%y%i(;% 

'/s  Va  ys  Vl  Va  %  Vi  Vt,  Vs  %  Vo  % 

1    1  :(  1  .">  .'17   12  12  3  4   1  .". 

Size,  .166 

y3% 

1/3  2/3/5  2/5  ysys  1/6% 

s  4  S  2  H  4  .s  ;',  .■( .-)  .■) .-,  ,■>  0  11 

1/3  Vz  Vs  Vs  Vs  Vs  Vo  Ve 

I1,1I537IZI234IS 

8  4  8  2  "8  4  8  3  3  5  S  S  5  6  6 

GOTHIC  No.  16  with  TITLE  No.  4  (12A104) 
Size,  .1107 

EXCELSIOR  with  BOLD  FACE  No.  2  (11A128) 

113153712123415 

RONALDSON  No.  6  with  12  Point  ELZEVIR  No.  2 

Size,  .1522 

8  4  8  2  8  4  8  3  3  5  5  5  5  6  6 

(10A190)  Size,  .166 

'A'AA'AA)WyVM\:n■^ 

113153712123415 

(Aux.  Position  Casts  on  12  point  body) 

8  4  8  2  8  4  8  3  3  5  5  5  5  6  6 

/s  Ya  Y%  V2  %  Ya  'i 

V8V4%v.%.y4%V3% 

'AVa'AVi'AVa'A 

No.  1  with  CENTURY  BOLD  (11A72) 
Em  Size,  .1^22 

GOTHIC  No.  31D  with  GOTHIC  No.  32D  (l2A39fa) 
Em  Size,  .1107 
(Casts  on  13  point  body) 

UIMILINE  with  12  Point  ELZEVIR  No.  2  (10A182I 

y^'4%iy;4vs!4%%%va^(; 

'/eV4?8'2=8^4'a 

Size,  .166 

(Aux.  Position  Casts  on  12  Point  Sluq) 

V,  Va  %  Vz  %  %  Vs  ^5  %  %  %  % 

'e'A^eVz^s^Ars 

ys  y4  ys  y2  %  %  Vz 

1  1  .3  1  .-.  :i  7 

s  1  ,s  2  S  4  S 

kiiiUl 

'A'A'AVi'AVa'A 

1  r  .1  1  .i  3  7 

8  4  N  2  S  4  8 

'silhlU 

979 


Tivo -Letter,  Roman  with  Bold— 4;  to  24  Point 

LINOTYPE   FRACTIONS 

13  Point,  coiifiiiiiefl 

GRaNJON  with  GRANJON  BOLD  (12A316) 

CHELTENHAM  CONDENSED  with  CHELTENHAM 

Em  Size,  .1383 

BOLD  CONDENSED  (12A94)  Em  Size,  .166 

GOTHIC  No.  32  with  GOTHIC  No.  33  (12A250) 
Size,  .1107 

'MV.Vi'A'A'A'AV, 

'A'Ay%V2y4'AV3y5%%V6 

(Casts  on  13  point  body) 

1    1  3 
4  24 
J-J  3 
424 

%V4ysy2ysV4ysV3% 

Vs'A%V2V^AV3%%ysV^ 

113  1537 
8482848 

113  1537 
8482848 

113153712123415 
8  A  8  2  8  4  8  3  3  5  5  5  5  6  6 

1  13153712123415 

OlZC,     .£.l.\Jy 

848284833555566 

VsVaVsV^Vq^aVq 

MEMPHIS  MEDIUM  CONDENSED  with 

Vs'A%V2^/s^Ays 

MEMPHIS  BOLD  CONDENSED  (12A480) 
Size,  .1383 

CLASSIC  with  CENTURY  BOLD  (12A58) 
Em  Size,  .166 

V3V3V^Y^y3VeVe 

Vs  1/4%  1/2%%% 

y^V4y%Viy?>y4V%'Ay3V5Vt 

l/ayaVs^/srsVeS/e 

VtiVAW/2%W/z 

'A  Va  %  Vi  %  Va  %  'A  Vz  'A  'A 

immmmm 

1131S371112341S 
848284833555566 

LINING  METROMEDIUM  C  with  LINING 
METROTHIN  C  (12A422)  Size,  .1107 

MEMPHIS  MEDIUM  CONDENSED  with 
MEMPHIS  EXTRA  BOLD  CONDENSED 

(12A502)  Size,  .1383 

VaVz^a 

%l/4%l/2y4% 

Va  '4  % 

yzVAW/zWA 

CLOISTER  WIDE  with  CLOISTER  BOLD  (12A280) 
Em  Size,  .166 

GOTHIC  No.  29C  with  GOTHIC  No.  30C  (12A210) 
Size,  .1245 

BOLD  FACE  No.  9B  with  GOTHIC  No.  31B 

'/8y4y8'/2  78y4y8 

(Casts  on  13  point  body) 

(12A220)  Em  Size,  .1522 
(Casts  on  13  point  body) 

y8y4y8y2^/8y4y8 

'/8'/4%!/2%y4y8'/3%'/5y5%y5'/6y6 

Vs  1/4  Vz  %  %  Vs  %  y5  %  %  yo  % 

ViViV^V.y^V^VeVe 

V8V4%'/2%3/4y8'/3y3V52/53/5y5'/6y6 

Vs  Va  Vz  %  78  73  2/3  Ks  ysrs  '/e  % 

ViV^y5V5y5%V6y6 

BOLD  FACE  No.  9C  with  GOTHIC  No.  31C 
(12A218)  Em  Size,  .1383 

1    13  15  3  7 

ILllllllllllAi^l 
848284833555566 

(Casts  on  13  point  body) 

8  4  8  2  8  4  8 

J-iiXS  3.712.12.3  4  1.5. 

Vs  V4  %  Va  %  %  V3  %  1/5  %  4/5  Ve  ye 

GOTHIC  No.  29A  with  GOTHIC  No.  30A  (12A214) 

848284833  53  5566 

Vs  %  ye  '/z  y4  ys  '/a  ys  '/s  ys  %  Ve  ye 

Size,  .1522 

(Casts  on  13  point  body) 

EXCELSIOR  with  BOLD  FACE  No.  2  (12A378) 

iif 

l/8'/4%!/2y4%'/32/3!/5y5l/6% 

Em  Size,  .166 

Vs  V4  =)8  V2  %  %  Vs  Vs  %  Mj 

iij 

'/8!/4%!/23/4%!/32/3!/5y5!/6y6 

Vs  1/4  %  Vz  %  %  %  Vs  %  1/5 

ERBAR  LIGHT  CONDENSED  with  ERBAR  BOLD 
CONDENSED  C12A392)  Em  Size,  .1383 

GOTHIC  No.  32B  with  GOTHIC  No.  33B  (12A254) 
Size,  .1522 

jLiaisa^ 

8  4  8  2  8  4?^ 

^8%  3/8^2  5/8  3/4% 

(Casts  on  13  point  body) 

1131537 

Vzy^VzVi^kyxVz 

Vb  '/4%  '/2%%  ^3%  VsYs  y6% 

8  4  8  2  8  4  8 

yiViysysy^'/sytVt 

y8V4%'/2%y8'/32/3y5y5V6% 

EXCELSIOR  with  MEMPHIS  BOLD  (12A488) 
Size,  .166 

yiViysVsVs'/syoVt 

GOTHIC  No.  32C  with  GOTHIC  No.  33C  (12A256) 
Size,  .1522 

1/81/43/81/25/8347/8 

iiiiiii 

8482848 

(Casts  on  13  point  body) 

1/81/43/81/25/83/47/8 

^U%U 

'/a  Va  %  Vz  Va  Va  Vz  %  '/s  Vs  Ve  % 

8482848 

VaV*^/sV2.^/AVaV3^/3VsV5Ve^/e 

GOTHIC  No.  13  with  CHELTENHAM  BOLD 
CONDENSED  (12A242)  Em  Size,  .166 

GOTHIC  CONDENSED  No.  2  with  CHELTENHAM 
COMPRESSED  (12A188)  Size,  .1383 

LINING  METROMEDIUM  A  with  LINING 

•/8'/4%'/2  5/8  3/4y8'/3  2/3 

VMAViWAVzVzVz 

METROTHIN  A  (12A418)  Size,  .1522 
y4V2-/4 

y8y4y8y2y8y4y8y3y3 

v^VAWi^yMhy^ 

74^2% 

r 1 3 1 537  1  1 

848284835 

GOTHIC  No.  29B  with  GOTHIC  No.  308 

1 1315371  1 

(12A212)  Size,  .1383 

LINING  METROMEDIUM  B  with  LINING 

84 82 84 8 35 

(Casts  on  13  point  body) 

METROTHIN  B  (12A420)  Size,  .1522 

ya  Va  %  Vz  w/s  V3%  V5%y5  '76% 

VaVzVa 

GOTHIC  No.  13  with  DeVINNE  CONDENSED 

(12A102)  Em  Size,  .166 

Vb  '74%  V2.W/B  VzVz  y^Ys%  VeWe 

Va  Vz  Va 

y8y4y8y2y8y4y8 

GOTHIC  No.  31C  with  GOTHIC  No.  32C  (12A272) 

CENTURY  EXPANDED  with  CENTURY  BOLD 

'/8'/4y8'/2y8y4% 

Em  Size,  .1383 

(12A64)  Size,  .166 

(Casts  on  13  point  body) 

VsV^VM^'AVs 

y3y3y5y5y5y5y6y6 

y8y4y8y8%y8 
'/8y43/8%y4y8 

±13 
4   2  4 

V,ViMi%VA% 

%  Vs  Vs  Vs  %  %  V6  % 

y3%y5%%y5yG% 

113153712 
8  4'82  8483  3 

HI 

'A  %  'A  %  %  %  %  % 

1±3±S3711 

848284833 

980 


LINOTYPE    FRACTIONS 


Two -Letter,  Roman  witli  Bold—i  to  24!  Point 


12  Point.  <'oiifiiiii(>({ 

GOTHIC  No.  15  with  BOLD  FACE  No.  4  (12A44) 
Size,  .166 

Size,  .1107 

1 1  3  1.  5.  3  7  1  2. 
8  4  8  2  8  "4  8  3  3 
11. -i  J  5  3712 
8  4'  S  2  8  4  8  :i  :i 


GOTHIC  No.  44  with  GOTHIC  No.  42  (12A468) 
Size,  .166 

1/32/3 


1/32/3 


IONIC  No.  5  with  BOLD  FACE  No.  2  (12A368) 
Em  Size,  .166 

1/8  1/4  %  1/2  %  %  VS  1/3  %  1/5 

%  1/4  %  1/2  %  %  Vs  1/3  %  1/5 


113153712 
8482848  33 

113153712 

848284833 

MEMPHIS  LIGHT  with  BOLD  {12A37C) 
Em  Size,  .166 

/8  1/4%  1/2  5/8  3/4% 

1/8  1/4%  1/2%  3/4% 

/3%/5  2/5%y5/6y6 

1/3  2/31/5  2/5  ysysVeVe 

li.3i_5  3  7_1.2i2  3  4_l_5 
84  8284  833555566 

113153712123415 
8  4  8  2  8  4  8  3  3  5  5  5  5  6  6 

MEMPHIS  MEDIUM  with  MEMPHIS  BOLD 

C12A466)  Em  Size,  .166 

y8i/4%i/2y8y4y8y3y3 

1/8 1/4  %  1/2  y8  y4  %  1/3  % 

JL2 
33 
JL2 
33 


METROMEDIUM  with  METROTHIN  (12A308) 
Em  Size,  .166 

!/8/4y8i/2y8y4% 
/3%/5  2/5  ysys/sye 

11315  37 
8  4  8'284"8 

11315 37 
8482848 


OLD  STYLE  No.  1  with  ANTIQUE  ITALIC  No.  1 
(12A78)  Em  Size,  .166 


li:515;j7  1 

84828488 
i  1  3 1 5_  3  7  1 
84828483 


OLD  STYLE  No.  1  with  CHELTENHAM  BOLD 
(12A126)  Em  Size,  .166 


T  /  '^ /  T/ 

/37s/. 


/  3  --  4/T/  s/ 


1  i;il5Jj7  1  212:54  15 
S-f  82848  3  3  5  5  00  fid 
113  1_5  3  7  1  2  1  2  3  4  1  5 
8  4  82  84  8  335  5  5  5  6  6 


OLD  STYLE  No.  1  with  TITLE  No.  1  (12A84) 
Size,  .166 


OLD  STYLE  No.  1  with  TITLE  No.  2  (12An6) 
Em  Size,  .166 

Vs'AH'AHHU'A-A 

VsVAysViysVAVsVsVs 

113  1 5  37  1 

84S2848TJ 

113  15  3  71 

8  4  8  2  8483 


OPTICON  with  BOLD  FACE  No.  2  (12A474) 
Size,  .166 

1/31/4%  1/2  %y4y8 

1/8  1/4  3/8  1/2%%% 
l/3%l/5%%y5l/6% 

y3%i/>%%y5%% 

SCOTCH  with  JANSON  (12A90)  Em  Size,  .166 
l/l/'?/l/'i/'^/7/ 

78  74  78  72  7874  78 

113  1537  121 
84 8  2 848  3  31) 
1131531111 
8482848336 

TEXTYPE  with  BOLD  FACE  No.  2  (12A310) 
Em  Size,  .166 

1/8  1/4%  1/2%%% 

1/8  1/4%  1/2%%% 

l/3%l/5%%y5l/6% 

l/j%l/5%%y5l/6% 

113  15  3  7 
8  4  82848 

113  1537 

8482848 

Special  No.  4.  Size,  .178 
1/41/23/41/3% 


1/41/23/41/3% 


DeVINNE  with  ANTIQUE  No.  3  (12A16) 
Em  Size,  .168 

VsVaV2%'AV^%V^%V^V, 

113  1  5  .3  7  12  12  3  1  1  5 
8  182818  .•i3.'>  ,">.")  5(i  (i 
113153712123415 
84828483355  5  566 


DeVINNE  with  TITLE  No.  1  (12A152)  Size,  .168 


yzYzysysysYsYeye 


OLD  STYLE  No.  1  with  ANTIQUE  No.  1  (12A26) 

Em  Size,  .168 

''iAAAAAJiy^yzAy 


liaia3712123115 
848284&33o55  5  66 

11315  3  71212  34  15 
8  48  2  8  4  8  3  3  5  5  5  5  6  6 


GERMAN  No.  3  with  BOLD  FACE  No.  2  (12A164) 
Em  Size,  .178 

i/sy4%y2%y4% 
y8y4%y2%y4% 

1 13  L  5  3  7  1212  3  11  5 
8  4  8  2  8  4  8  3  3  5  5  5  5  6  ( > 

1131537  12123415. 
8  4  8  2  8  4  8  "3  3  5  5  5  5  6  6 


RUSSIAN  No.  3  LIGHT  and  BOLD  (12A15O) 

vS4%y>%%% 
y8M%y2%'M% 


RUSSIAN  No.  11  with  ANTIQUE  BLACK  No.  2 
(12A52)  Size,  .178 


TEXTYPE  with  BOLD  FACE  No.  2  (12A310) 
Special  No.  4.  Size,  .178 


1/4 1/2  ¥4 1/3% 
1/4 1/2  3/4  y3% 


BASKERVILLE  CONDENSED  with  10  Point 
BOLD  FACE  No.  1  (12A148)  Size,  .1798 


1/4  %  % 


CENTURY  EXPANDED  with  CHELTENHAM  BOLD 
(12A140)  Em  Size,  .1793 

y8y4y8y2%y4y8 

V3V3V^Vs%%VeV^ 

113  15  3  7  1212  3  11 5 

8  18  2848  335  5  5  5  (!  (i 

11  3153712123415 
84  8  284  8335  5  55  6  6 


981 


Two -Letter,  Roman  with  Bold—4<  to  24^  Point 


LINOTYPE   FRACTIONS 


12  Point,  continued 

CHELTENHAM  WIDE  with  CHELTENHAM  BOLD 

{12A88)  Em  Size,  .1798 

11 3153 7 121 2  34  1 5 

8  4  8  2  8  4  8  3  3  5  5  5  5  6  6 

ii  3  JL  5  3  7.  1  2 12  3  4 15 

8  4  8  2  8  4  8  3  3  5  5  5  5  6  6 

ELZEVIR  with  CHELTENHAM  BOLD  (12A56) 
Em  Size,  .1798 

^  M  ^  ^  ^  M  ^ 
VsV^AVzVsVaVs 

11  3  15117  1  2 
84  8  2  84B'3"3 
1131537  12. 
8482848  3  3 

GOTHIC  No.  29  with  GOTHIC  No.  30  (12A208) 
Size,  .1798 
(Casts  on  13  point  body) 

1/8y4%'/2%W/8 

73%/5%%y5/6% 


V3V3VSV1 


3/^4/^1, 


S-7S^/S 


^6% 


No.  2  with  GOTHIC  No.  3  (12A136) 
Em  Size,  .1798 

y8y4%y2%-y4%y3% 
y8y4%y2y8y4y8y3y3 

11  3  15117  1  2 
848284833 
11315.3  7  J  2. 
8  4  8  2  8  4  8  3"  3 

No.  16  with  CENTURY  BOLD  (12A70) 
Em  Size,  .1798 

y8y4%y2%y4y8 

•/8  Vi  %  Vl  %  %  % 

y3%y5%%%y6% 
'A  Vl  ys  %  %  ys  y6  % 

113  1  5  3  7  12 
84  8  2848  3  3 
LlllAllll 
848284833 

GOTHIC  No.  5  with  GOTHIC  CONDENSED  No.  1 
(12A30)  Size,  .182 

VS  ^4  %  1/2  5/8  %  %  1/3 

y8y4%y2y8y4y8y3 

BOLD  FACE  No.  9  with  GOTHIC  No.  31  (12A216) 
Size,  .1937 
(Casts  on  13  point  body) 

y8i/4%y2%%y8 
y8^^%y2%%y8 
y3%y5%y5y6% 
y3%y5%y5y6% 


BOLD  FACE  No.  9A  with  GOTHIC  No. 
(12A222)  Em  Size,  .1937 
(Casts  on  13  point  body) 


31A 


VsVi 

¥81/2 

% 

¥4% 

^8% 

% 

'/2 

% 

3/4% 

1/3% 

1/5 

% 

% 

%y6 

% 

73  2/3^5 

% 

% 

%'/6 

% 

113 
4  24 

iii 

DeVINNE  OUTLINE  with  BOLD  FACE  No.  6 

(12A122)  Em  Size,  .1937 

y^y^v^y^v^v^v^ 
y%y^Y^ViV^%v^ 

y^vMy^yB%y^y^ 

IJ  J.  B  S3  7  J  2 
84 8  284 S  3  3 
1 131537  12 
H4 8 2 84 8 3 3 

GOTHIC  No.  16  with  CHELTENHAM  BOLD 

(12A244)  Size,  .1937 

y8V4y8y2%y4y8 
ys  y4  ys  Vz  %  %  Vs 

VzVz'AV^A%Ve% 

GOTHIC  No.  31A  with  GOTHIC  No.  32A  (12A268) 
Em  Size,  .1937 
(Casts  on  13  point  body) 

Vs  Va  %  Vz  %  3/4  %  Vz  % 
Vs  Va  %  Vz  %  3/4  %  '/a  % 

i_L3  JL5  3  7 
8  4  8  2  8  4  8 

J_i3  J_5  37^ 
8  4B2  8  4  8 


GOTHIC  No.  318  with  GOTHIC  No.  32B  (12A270) 
Em  Size,  .1937 
(Casts  on  13  point  body) 


VbVa^/zVz^/b^/a''/b 

1/8 '/4  3/8^2%  3/4% 

J_13±5  3  7 
8  4  8  2  8  4  8 

J_J_3_L5  3Z 
8  48  2  82t8 


GOTHIC  No.  32A  with  GOTHIC  Wo.  33A  (12A252) 
Size,  .1937 
(Casts  on  13  point  body) 

l/8'/4%'/2%y4% 

!/8V4%'/2%y4y8 

y3y3'/5%%y5'/6% 

1/3  2/3  !/5  %  3/5  %  Ve  % 


LINING  METROMEDIUM  with  LINING 
METROTHIN  (12A416)  Size,  .1937 

VaVz^/a 


METROBLACK  with  METROLITE  (12A302) 

Em  Size,  .1937 

1/8  74  3/8  1/2  5/8  3/4  78 
1/8  74  3/8  72  5/8%% 
73  73  75  2/5  3/5  ys  76  5/6 
73  73  75  75  ysys  76  5/6 

IJ  3  1  5  3  7  12  1 
8  4  8  2  8  4  8  3  3  6 

li3^15.3.Z12  J_ 
8482848336 

METROLITE  No.  2  with  METROBLACK  No.  2 

(12A492)  Size,  .1937 

ysVAysV2VsV4Vsy3 
ysVAVzyiVsVAVsVz 


GOTHIC  No.  25  with  GOTHIC  No.  26  (12A168) 
Size,  .2109 


y2y8 
y2% 


GOTHIC  No.  32  with  GOTHIC  No.  33  (12A250) 
Size,  .2109 
(Casts  on  13  point  body) 

ysyAVsyzysYAVQ 
y8V43/8y2%3^y8 
732/3752/53/576% 
yayaysysrsyes/s 


Size,  .1107 

i-il 

J.J  3 
424 

14  Point 

No.  36  with  12  Point  BOLD  FACE  No.  4  (14A10) 
Size,  .0968 

113153712123415 
84828483  3  555566 

11315  3  7  12  12  3  4  15 
8  4  8  2  8  4  8  3  3  75  5  5  5  6  <a 

CENTURY  EXPANDED  with  CHELTENHAM  BOLD 

(14A86)  Size,  .1107 

11315 3 7 1212 3  415 
8  4  8  2  8  4  8  3  3  5  5  5  5  6  6 
113153712123415 
8  4  8  2  8  4  8  3  3  5  5  5  5  6  6 

Size,  .1937 


CHELTENHAM  WIDE  with  CHELTENHAM  BOLD 

(14A40)  Size,  .1107 

113153712123411 
848284833555566 
113153712123415 
8  4  8  2  8  4  8  3  3  5  5  5  5  6  6 

Size,  .1937 


982 


LINOTYPE    FRACTIONS 


Two -Letter,  Roman  with  Bold— 4  to  24:  Point 


14  Point,  continued 

GOTHIC  No.  16  with  TITLE  No.  4  (14A50) 
Size,  .1107 

I  I3I537I2I234I5 
"8  4  8  "2  "8  "4  "8  3  "3  5  5  "5  "5  "6  '6 

113153712123415 
8  4  8  2  8  4  8  3  3  5  5  5  5  G  6 

Size,  .1937 

'/8'/4%'/2%y4'/8 


ERBAR  LIGHT  CONDENSED  with  ERBAR  BOLD 
CONDENSED  (14A210)  Em  Size,  .166 

VsVaYsViVsVaVs 
ViW/sVsVs'/sVeVe 

11315  3  7 
8482848 
1111537 
8482848 


GOTHIC  CONDENSED  No.  2  with  CHELTENHAM 
COMPRESSED  (14An2)  Size,  .166 

'/8'/4%'/2%%y8 


GRANJOIM  with  GRANJON  BOLD  (14A192) 
Em  Size,  .166 

ys'AYsYiys'Ays 
ysV4ysy2ysy4V& 

Lllllll 
8482848 

11115.12 
8482848 


CENTURY  EXPANDED  with  CENTURY  BOLD 

(14A20)  Em  Size,  .1937 


V/s 


y8y4%y2%-5 
y8y4%y2%y4y8 

113  1537  1 212  3415 

8  4  8^8483  3  5  5  5  5  G  G 

113153712123415 

84  8  2  8  4  8  3 3  5  5  5 ¥  6  6 


CENTURY  EXPANDED  with  CHELTENHAM  BOLD 

(14A86)  Size,  .1937 

y8y4%y2%%y8yn 
y8y4%y2%y4y8y5 

Size,  .1107 

113  153  712123415 
8  4  8  5  8  4  8  3  3  5  5  5  5  G  (5 

.113153712123415 
8  4  8  2  8  4  8  3  3  5  5  5  5  6  6 


CHELTENHAM  CONDENSED  with  CHELTENHAM 
BOLD  CONDENSED  (14/.42)  Size,  .1937 


CHELTENHAM  WIDE  with  CHELTENHAM  BOLD 

(14A40)  Size,  .1937 


Size,  .1107 

1131537111234  15 
84828483355556  6 

113153712123415 
8  4  8  2  8  4  8  3  3  5  5  5  5  6  6 


CHELTENHAM  with  CHELTENHAM  BOLD 
CONDENSED  ITALIC  (14A128)  Size,  .1937 


i/8y4y8y2y8y4'/8 


CLASSIC  with  CENTURY  BOLD  (14A26) 
Em  Size,  .1937 


i/sysysysysys'' 

111153 71112  34 
8482848335555 
113  1537121234 
8  4  8  2  8  4  8  3  3  5  5  5  5 


6% 

15 
66 
1  5 
6  6 


CLOISTER  WIDE  with  CLOISTER  BOLD  (14A158) 
Em  Size,  .1937 

1/8  1/4^8  1/2  78^4  7/8 
/8/4/8/2y8y4  7/8 
/3  2/3/5  2/5/5  4/5/6  76 
/3  2/3/5  2/5/5  4/5/6/6 

iiiiiiZiiiiiiii 

84828483355  5566 
11.11.5.1212.12.14.15. 
848284833553566 


DeVINNE  witii  ANTIQUE  No.  3  (14A22) 
Em  Size,  .1937 

y8y4y2y4ysyi%y-,% 

Ys  Yi  Yi  y4  Ys  Ys  ys  Yi  % 

1  13  153  712  12  8415 

84  8  2  8  4  8  3  3  5  5  5  5  G  G 

1  13  1_5  3  71  2  123415 
8  4  8  2  8  4  8  3'3  5  5  5  5  6  6 

DeVINNE  with  TITLE  No.  1  (14A140)  Size,  .1937 

ysyry8y2-';KK4ys 
Vsy4ysy2V$V4Vs 


EXCELSIOR  with  BOLD  FACE  No.  2  (14A214) 
Em  Size,  .1937 

Vs  Vi  %  Mi  %  %  %  Mi  % 

VS  1/4  %  1/2  %  %  %  1/3  % 

J  1  :)  I  .')  :!  7  1  2 
s  -i  s  2  8  1  8  :{  ;} 

113  153712 

8  4  8  2  8  4  8  3  3 

EXCELSIOR  with  MEMPHIS  BOLD  (14A252) 

I/8V43/8I/2  5/83^7/8 
/8/43/8/2y83/4y8 

GOTHIC  No.  13  with  CHELTENHAM  BOLD 
CONDENSED  (14A136)  Em  Size,  .1937 

'/8'/4%'/2%%y8 

y8y4y8y2y8y4y8 

'/sysi/sysys^'/e'/e 

ysyaYsysysyBYeye 

I  I  3  I  53  7  f  2 
84  8284833 
113  15  3  7  12 

84  8284  8  33 

Special  No.  1.  Size,  .1937 

'/8'/4y8'/2%y4y8y3 

'/s  '/4  %  '/2  %  Yi  %  y 

GOTHIC  No.  13  with  DeVINNE  CONDENSED 

(14A48)  Em  Size,  .1937 

'/8'/4y8'/2y8y4y8 

'/s  '/4  %  Yi  %  y,  % 

VzYzViV^YiV^V^Yi 

'/3  %  '/s  %  ys  ys  '/6  y„ 

I I3I537I2I234I5 
8  "4  8  "2  8  "4  8  3  3  5  "5  5  5  G  G 
1111^1112.111115. 
848284833555566 

GOTHIC  No.  16  with  CHELTENHAM  BOLD 
(14A138)  Size,  .1937 

y8y4y8y2y8y4y8 
y8y4y8y2y8y4y8 
Y^yzyzYsyzysYeys 
yzyzYBy^y^y^Y^y^ 

GOTHIC  No.  16  with  TITLE  No.  4  (14A50) 

'I'Jy8'/2y8y4y8 
y8y4y8y2y8y4y8 
YiyiY^Y^yf,yi 
Yzy:^YsysyBy5 


I3I537I2I234I5 
"4  8  i  '8  "4  8  '3  "3  '5  '5  5  5  6  "6 

13153712123415 
4  8  2  8  4  8  3  3  5  5  5  5  6  6 


983 


Two -Letter,  Ro7nan  with  Bold— 4!  to  ^4  Point 


LINOTYPE   FRACTIONS 


14  Point,  continued 

GOTHIC  No.  44  with  GOTHIC  No.  42  (14A242) 
Size,  .1937 

1/52/5 

^52/5 

MEMPHIS  LIGHT  with  BOLD  (14A200) 
Em  Size,  .1937 

V8i/4%i/2y8y4% 
v^3  2/3/5%%  4/5  ye  ye 

VsVsVsVsysVsVGVB 

Ii3_i53  712 
848284  833 

ii31537i2 
848284833 

MEMPHIS  MEDIUM  with  MEMPHIS  BOLD 
(14A240)  Em  Size,  .1937 

1/8/4  y8/2y8%4y8/3y3 

/a  /4  %  V2  ye  y4  Va  Vz  Vz 

12 
33 

12 
33 

METROMEDIUM  with  METROTHIN  (14A186) 
Em  Size,  .1937 

Vs'AysVzVsV^Va 
VqVaW/i^/qWM 

/sys/s^ysys 
/sys/sysysys 

1  13  1.5  3  712 
848284833 

113153712 
848284833 


OLD  STYLE  No.  1  with  ANTIQUE  No.  1  {14A24) 
Em  Size,  .1937 


%Va^/ 


y2ymyi 


yzyiYsybYsysyeye 
yzVzysVsysVsyeVt 

11315371211 

84  8  28483  356 

1 1315  3  7^  1  2.11 
8482  8483356 

OLD  STYLE  No.  1  with  CHELTENHAM  BOLD 
C14A62)  Em  Size,  .1937 

y^yAY^yy^Y-xy^ 
yyysysYsYsYeYe 

11315  3  71212  3  415 

84  8  28483  35  555G6 

113153712123415 
84  8  2  8  4  8  3  3  5  5  5  5  6  6 


OLf^  STYLE  No.  1  with  TITLE  No.  2  (14A72) 
:  m  Size,  .1937 

/%  yA  y9,  y2  yk  Yl  ?o 

y8y4y8y2%y4y8 

1131537 

8482848 

11:11  53  7 

8482848 

TEXTYPE  with  BOLD  FACE  No.  2  (14A194) 
Em  Size,  .1937 

1/31/4  %¥£%%% 

y8y4%y2%y4% 
VsysysysysVeyG 
ysysysysysVeye 

113153 7 
8482848 

1131537 

8  4  8  2  8  4  8 

No.  16  with  CENTURY  BOLD  {14A36) 
Em  Size,  .2075 

Vs  Vi  %  V2  %  %  % 
Vs  %  %  %  %  Ve  % 

11  3.IA  3.11  2-1^-3.1 

8482848335555 

11315371212  34 
¥  4  8"  2  8  4  8  3  '3^  5  5  5  5 

DeVINNE  OUTLINE  with  BOLD  FACE  No.  6 

(14A80)  Em  Size,  .2213 

Ks  V4  %  Vl  ¥4  %  V3  % 

Vs  M  %  1/2  %  Vs  ys  % 

1.13.±S.3732±234±Sl 
8  4  8  2  "8  4  S  3  3  S  S  S  S  6  6 

113  1  5  3  7  1  2  1  2  3  A 1  ia. 
848284833555566 


ELZEVIR  with  CHELTENHAM  BOLD  (14A28) 
Em  Size,  .2213 

ysy4Hy2y4HVi-A 
yzyA%yi^Ay%yzyz 

11315 3 712 
84828483  3" 
113153712 
84  8  2  848  33 

METROBLACK  with  METROLITE  {14A180) 
Em  Size,  .2213 

y8y4y8y2y8  3/4y8 
/8/4y8/2y8y4y8 
ysys/sysysysys 
/sys/s  3/5  4/5/6% 

JLJ  3^i  5^  3^J7  1 2.1 
8  482848336 

11  3^JL  5  3.  7:1  2.1 
8482  8  48336 


METROLITE  No.  2  with  METROBLACK  No.  2 

(14A258)  Size,  .2213 


18  Point 

ERBAR  BOLD  CONDENSED  with  ERBAR  LIGHT 
CONDENSED  (18A56)  Size,  .0968 

11112 
42433 

11312 
42433 


ERBAR  LIGHT  CONDENSED  with  ERBAR  BOLD 
CONDENSED  (13A4)  Size,  .0968 

113153712 
848284833 

113153712 
848284833 


GOTHIC  No.  13  with  CHELTENHAM  BOLD 
CONDENSED  (18A36)  Size,  .1107 

111153712 
8482848  33 

113.15.3.112. 
848284833 

y8W/8V2%%%y3 

V8V4%V2%%V8V3 


METROBLACK  No.  2  with  METROLITE  No.  2 

(18A8)  Size,  .1107 

113 
424 

113 

424 


1/8 143/8 1/25/83/4 

Available:  ys'/4%y2%%%'/3% 
Special  No.  7.  Size,  .1522 

113^15.3^7:12^1 
8482848336 

113.15.3.  7:12.1 
8482848336 

Special  No.  7.  Size,  .2767 

y8V4%V25/8¥4 
'/8'/4%y25/83/4 

Available :  '/a '74% '/2%%% ¥3% 


984 


LINOTYPE    FRACTIONS 


Two -Letter,  Roman  with  Bold— 4  to  24  Point 


18  Point,  eontinuod 

METROMEDIUM  No.  2  with  METROTHIN  No.  2 

(18Ab)  Size,  .1107 

11115  3711 
848284836 

113153711 
848284836 


'/S 'A  % '725/83/4% 
/S  1/4  3/8/2  5/8  3/4% 


PABST  EXTRA  BOLD  CONDENSED  with  14  Point 
GOTHIC  No.  16  (18A78)  Size,  .1107 

1131 

4243 

JLJL31 
4  243 

Size,  .1937 

/8  /4  /8  /2  /8  /4  /8 
'/8>/4V8'/2W/4y8 


GOTHIC  No.  16  with  CHELTENHAM  BOLD 

(18A34)  Size,  .1383 

11115  3  71 
84828483 

ii3.JL5.3.J7i 
84  8  28483 


Vs  %  %  Vz  %  %  % 

y8y4¥8y2%y4% 

ERBAR  BOLD  CONDENSED  with  ERBAR  LIGHT 
CONDENSED  (18A5b)  Size,  .1522 


mil 

72433 

11312 
42433 


ERBAR  LIGHT  CONDENSED  with  ERBAR  BOLD 
CONDENSED  (18A4)  Size,  .1522 


113  1537  12 
8  4  8  2  8  4  8  3  3 

113 1  53  711 
848  2  84  833 


ERBAR  MEDIUM  CONDENSED  with  ERBAR  LIGHT 
CONDENSED  (I8A88)  Size,  .1522 


VM%V2Y»m 


METROBLACK  No.  2  with  METROLITE  No.  2 
(18A8)  Special  No.  7.  Size,  .1522 

1  J   3  1    5^3  7  1   2i 
8  4  8  2  8  4  8  3  3  6 

IJ   3.J_5.3  7__12.1. 
8  4' 828  4  8336 

MEMPHIS  BOLD  CONDENSED  with  MEMPHIS 
MEDIUM  CONDENSED  (18A68)  Size,  .166 

'/8'/4%'/2%y4%'/3 

MEMPHIS  EXTRA  BOLD  CONDENSED  with 
MEMPHIS  MEDIUM  CONDENSED  (18A70) 

'/8V4%y2%%% 

H '743/8 1/2%%% 

PABST  EXTRA  BOLD  CONDENSED  with  14  Point 
GOTHIC  No.  16  (18A78)  Size,  .1937 

/8  /4  /8  /Z  /8  /4  /8 

'/8'/4y8'/2y8y4y8 


Size,  .1107 

1131 

4243 

113  1 
4  24  3 

CENTURY  BOLD 

(18A60)  Size, 

with  CENTURY  EXPANDED 

.2075 

•/8'/4%'/2%M'/8 
1/814%  1/2%%% 

GOTHIC  No.  13  with  CHELTENHAM  BOLD 
CONDENSED  (18A36)  Size,  .210 

V8V4%V2%%V8V3 

Size,  .1107 

11115 3 711 
8482848  33 
113153111 

848284833 

MEMPHIS  BOLD  with  MEMPHIS  LIGHT  (18A43 
Lm  Size,  .2213 

'/8'/4%>/2y8y4%y3 


%%/3 


/8/4%/2  5/ 

11131 
84  24  3 

11131 
84  24  3 


MEMPHIS  BOLD  with  MEMPHIS  MEDIUM 

(lH,;.n'1)  Em  Size,  .2213 

y8y4%y2%y4% 
y8y4%y2%y4% 

12 
33 

12 
33 


MEMPHIS  LIGHT  with  MEMPHIS  BOLD  (isAlo) 
Em  Size,  .2213 

'/a  74  %/2%  3/4/8/3 

y8y4%y2%y4%y3 

113  153  7 
8482848 

1131537 
8482848 


GOTHIC  No.  16  with  CHELTENHAM  BOLD 

Vi%'%V2  5/8  3/4  Vt 
V8V4%V2%W/8 


11115371 
84828483 

ii  3.i  5. 3  7:1. 
84828  483 

METROMEDIUM  No.  2  with  METROTHIN  No.  2 

(18A6)  Size,  .249 

y8y4%y2y83/4% 

/8/4  3/3/25/8  3/4% 

Size,  .1107 

11115  3  711 
848284836 

J  1315 3 711 
848284836 


METROBLACK  No.  2  with  METROLITE  No.  2 

(18A8)  Size,  .2767 

VaVAyaViyaVA 

Available:  Vs' ■i^8'/2?o^/4'?e'3% 
Size,  .1107 

113 
424 

113 

424 

Special  No.  7.  Size,  .2767 

'/8'/4%'/25/8  3/4 


'8/4  3/8y2%3z 


Available:   '  u  '  ^ -'a' j''b '4''h  •  3^.1 
Special  No.  7.  Size,  .1522 

1  J  3^  15^  3  712^1 
8  4  8  2  8  4  8  3  3  6 

1  J    3  1    5.3  ZJ    2_J_ 
8  4' 8  2  8  4  8  3  3  6 


METROLITE  No.  2  with  METROBLACK  No.  2 

Kb  i/a%  1/2  5/334 

!/8!/4y8V25/83/4 


985 


Tivo -Letter,  Roman  with  Bold— 4:  to  '24  Point 


LINOTYPE    FKACTIONS 


24  Point 

ERBAR  BOLD  CONDENSED  with  ERBAR  LIGHT 
CONDENSED  (24A56)  Size,  .1107 

lllllllll 

848284833 

113153712 
848284833 


ERBAR  MEDIUM  CONDENSED  with  ERBAR  LIGHT 
CONDENSED  (24A88)  Size,  .1107 

11115311 
84828483 

11315371 
84828483 


GOTHIC  No.  13  with  CHELTENHAM  BOLD 
CONDENSED  (24A36)  Size,  .1383 

113153112 
848284833 
113153712 
848284833 

Available:  y8',/4%'/2%%%V3 


MEMPHIS  BOLD  with  MEMPHIS  LIGHT  (24A48) 
Size,  .166 

111312 
84  24  3  3 

111312 
84  24  3  3 

Size,  .2698 

y8y4%y2y8% 

y8y4%y2%3/4 

Available:  'b '. '4 % V2 ^.'a ^,'1  Va V3 % 

METROMEDIUM  No.  2  with  METROTHIN  No.  2 

(24A6)  Size,  .166 

113 
424 

113 
424 


MtTROMEDIUM  No.  2  with  METROTHIN  No.  2 

(24A6)  Size,  .3182  (Continued) 


141/2341/3 


GOTHIC  No.  16  with  CHELTENHAM  BOLD 

(24A34)  Size,  .1798 

iJL3i5^3Xi2^ 
848284833 

iiSJLS  3  7  1.2 
8482  8483  3 

V4V23/4I/32/3 


ERBAR  BOLD  CONDENSED  with  ERBAR  LIGHT 
CONDENSED  (24A56)  Size,  .1937 


111153111 
848284833 

113153712 
848284833 


ERBAR  MEDIUM  CONDENSED  with  ERBAR  LIGHT 
CONDENSED  (24A88)  Size,  .1937 


11115111 
84828483 

11315371 
84828483 


METROBLACK  No.  2  with  METROLITE  No.  2 

(24A8)  Size,  .1937 

4  2433 

J_J_3.J_2. 
4  2  4  3  3 

y8y4%y25/8 
y8y4%y2y8 

Available :  '/s 'A % V2% %% '/a % 


BODONI  BOLD  CONDENSED  with  18  Point  BODOIMI 
BOLD  ITALIC  (24A84)  Em  Size,  .2213 
(Aux.  Position  Casts  on  18  point  body) 

V8V4%V2y8%V8 

1/8 1/4%  ¥2%%% 

iJL32 
4243 

JLJL32. 
4243 


MEMPHIS  BOLD  CONDENSED  with  MEMPHIS 
MEDIUM  CONDENSED  (24A68)  Size,  .2213 


i/8y4%i/2%y4% 

MEMPHIS  EXTRA  BOLD  CONDENSED  with 
MEMPHIS  MEDIUM  CONDENSED  (24A70) 
Em  Size,  .2213 

VzVi%V2M4% 
VsVA%V2%%yB 

1112 
4233 

1112 
4233 


MEMPHIS  BOLD  with  MEMPHIS  LIGHT  (24A48) 
Size,  .2698 

y8y4%y2y8y4 
y8y4%y2%y4 

Available:  '/a'/4%'/2%%%'/3% 
Size,  .166 

111312 
84  24  3  3 

111312 
84  243  3 


GOTHIC  No.  13  with  CHELTENHAM  BOLD 
CONDENSED  (24A36)  Size,  .2767 

y8V4%y2%¥4 

V8V4%V25/8V4 

Available :  '/a 'U% V2^/a^A% V3 
Size,  .1383 

113153712 
848284833 

113153712 
848284833 


986 


LINOTYPE    FRACTIONS 

Two -Letter,  R 

Oman  with  Bold—A^  to  24  Point 

21  Point.  (*oiif  ititiccl 

METROMEDIUM  Wo.  2  with  METROTHIIM  No.  2 
(24A6)  Size,  .3182 

VaViVaV^ 

VaV2'^/aVz 

GOTHIC  No.  16  with  CHELTENHAIVl  BOLD 
(24A34)  Size,  .332 

¥41/2  3/4  V3% 
V4V23/4V32/3 

METROBLACK  No.  2  with  METROLITE  No.  2 
(24A8)  Size,  .332 

1/8  1/4%  1/2% 

Available;   's'  \^  a^'z''a^-\'^  b^  \i^2 

Size,  .166 

1  1  3 
424 

113153712 
84  8284833 

Size,  .1937 

113  12 
4  2433 

1   1  3 
424 

113153712 
848284833 

113  12 
4  2433 

ONE-LETTER   DISPLAY-16  to  60  Point 


16  Point 

BASKERVILLE  (16A15)  Em  Size,  .2213 

1131531 

8  4  8  2  8  4  8 

BODONI  (16A21)  Size,  .1798 
Size,  .1107 

X 

o 

ESTIENNE  (16A17)  Size,  .2213 

18  Point 

ANTIQUE  CONDENSED  (18A35)  Em  Size,  .2213 
Available:  '»' 4  =  8' 25»^4''B>3  =  a' 5  =  5^5 

mil  3  71112  3  415 
848284833555566 

ANTIQUE  No.  1  (18A103)  Size,  .2213 

'/8  %  %  Vi  %  y4  %  Vz 

Available;  'ay4^8'''2  =  8=!4'''8V3%V52ii^5''.s'6  =  .i 
BENEDICTINE  (18A111)  Em  Size,  .2213 

JLJ.3__L5^3._7JL2.J_2.3.41_1 
848284833555566 

BENEDICTINE  BOLD  (18A233)  Em  Size,  ,.'I9 

Vs  ¥4%  1/2  5/8  ¥4% 

11.3. 
4  24 

BENEDICTINE  BOOK  (18A225)  Em  Size,  .2213 

VsVaW/iV&VaVsVi 

lX3.X5i7: 
84  82  848 


BODONI  (18A101)  Em  Size,  .2213 

Available:  V8'A%l4.%=i^%V3%V5%^5%Vii% 
11 

3  3 

Available:  Binll^iU! 

BODONI  BOLD  (18A165)  Em  Size,  .2213 

Available:  "si  ^a.^iiSn^^^B'^a'a' 5^5  =  5 

JL 13 15  3. 7 12. 
848284833 


CASLON  OLD  FACE  (18A169)  Size,  .2075 

Available:  ',''8'/4%"2=i.  =  4'''8V3%'/52'5%''/5V6% 

Size,  .1107 

1    1    3   1    S   ,?   7  1    2 
«  4  8  "2  ¥4  8  XT 


CENTURY  BOLD  (18A133)  Em  Size,  .2213 
Available:    '  h'  a^'s'  ^'■a'-i''  h'  .,^.3\!,-3':,''r,'a^a 

11115.3.11-2 

848284  83  3 

CENTURY  BOLD  CONDENSED  (18A57)  Size,  .194 

%Vi%Vr'AWAVzV^ 

Available:  '8'4  =  8''2=8=4''8',3=bV325'5^3'G^b 
CENTURY  EXPANDED  (18A123)  Em  Size,  .2213 

/8/4/8/2%%%K3 

Available:     '8'4  =  8'2'^8'4''8' 3^3' 5-5  =  5^5"6^6 

113  15  3  7 

8482848 

CHELTENHAM  BOLD  (18A97)  Size,  .249 

y&VAW/2%WM 

Available:   'o' 4  =  8' 2''8-%''8  '  1^:1 


CHELTENHAIVl  BOLD  CONDENSED  (18A59) 
Size,  .210 


V8V4%V2y8¥4V8V3 

Available:    '8'4%"25a  =  4''8'32'3''5  =  5^5''5'6^6 

Size,  ,110 

113.15.1111111115. 
848284833555566 

CHELTENHAM  BOLD  EXTRA  CONDENSED 

{18A41)  Size,  .097 

111153111 
848284833 

CHELTENHAM  MEDIUM  CONDENSED  (18A389) 
Size,  .1798 

!/8y4%'/2%y4% 

CLOISTER  (18A263)  Size,  .2213 

Vs  %  Vs  Vi  %  %  %  Vi 

Available:  '8'4%''2^»^4''8'3^3''5^s'.'i''5'6^6 
CLOISTER  BOLD  (18A243)  Em  Size,  .2213 

A  A  /s  /i/s  A  A  A 

Available:   '  aU^s' 2  =  u^4''8' 3^3' s-a-'s-'.^'s^s 

1234 
5555 

CONDENSED  OUTLINE  (18A75)  Em  Size,  .2075 

y/4%'/2%¥4%«/32/3 

111111111 

§4  8  2843  3  3 

DeVINNE  EXTRA  CONDENSED  (18A55) 
Em  Size,  .158 

iiiiiiii 

84828483 

DeVINNE  OUTLINE  (18A183)  Size,  .1107 

111111111111411 
S4.H2S4S33S555^(& 

ELZEVIR  No.  3  (18A155)  Size,  .2213 

'/8'/4%!/2%-y4% 


987 


One-Letter  Display— W  to  60  Point 


LINOTYPE   FRACTIONS 


18  Point,  continued 

ENCORE  CONDENSED  (18A81)  Size,  .1937 


'/4'/2'/3% 


ERBAR  BOLD  CONDENSED  (18A351) 
Size,  .0968 

11 3121 
4  24  33  5 


ERBAR  LIGHT  CONDENSED  (18A353)  Size,  .1383 


WkWimwiVi 


1131537 
8482848 


ERBAR  MEDIUM  CONDENSED  (18A391) 
Size,  .1522 


Wi?imt\v% 


ESTIENNE  (18A355)  Size,  .249 


/s  'A  Vi  y-  5/8  34  7/8 


FRENCH  OLD  STYLE  No.  2  (18A63) 

Available :  Va 'A % Vz = «% %  Vi %  ','5  =  5^5 ■•  5 Ve % 
Size,  .1107 

113  153 71112 3  415 
8482848335  5  5  566 


GARAMOND  (18A265)  Em  Size,  .2213 

/«  Va  %  V2  Vi  Va  Vi  Vi 

Available:  '/8'A%V2%%%y3%'/5%%%'/6% 

111113  7 
8482848 


GARAMOND  BOLD  (18A277)  Em  Size,  .2213 
Available:  '4 '4 % '2 ■'" a ^4 % Vb % ',5 ^5^5 ''5 '/e ^'6 

11 3 J  13 Z 
8  4  8  2  8  4  8 


GARAMOND  BOLD  No.  3  (18A401)  Size,  .166 

1/8 1/4%  y2y8y4  %  1/32/3 1/6% 


GERMAN  BOLD  FACE  No.  3  (18A105) 
Special  No.  1.  Size,  .249 

VsV^WA%^AVs 

Available:  '/8'/4%'/2=8%%'/3  2'3 


GOTHIC  CONDENSED  No.  1  (18A33) 
Size,  .2075 

Available:  •8'/4%'/2%%y8y3%V5%%%'/6% 
Size,  .1107 

11315  3  71112  3  415 
8482  84833  555566 


GOTHIC  CONDENSED  No.  2  (18A1) 

Available:  ■8V4%V2%%'!8'3%'/5%=>,.5%i,55,i. 
Size,  .0899 

113153711 
848284833 

GOTHIC  CONDENSED  OUTLINE  (18A247) 
Size,  .249 

GOTHIC  No.  13  (I8A65)  Size,  .1107 

l.Ai3A2 
842433 

GOTHIC  No.  14  (18A43)  Em  Size,  .166 

1111537 
8482848 

GOTHIC  No.  16  (18A179)  Size,  .1107 

11115.1.712 
848284833 

GOTHIC  No.  18  (18A71)  Size,  .2213 

WAWAWAWk 

GOTHIC  No.  30  (18A141)  Size,  .1937 

l_l_-3  1_  2. 
4    2  4    3    3 

GOTHIC  No.  30A  C18A147)  Size,  .1245 

1  1  3 
424 

IONIC  CONDENSED  (18A287)  Size,  .1522 
JEMSON  BOLD  (18AH7)  Em  Size,  .249 

113 
4  24 

JENSON  CONDENSED  (18A53)  Size,  .220 

'/8  '/4  %  Vl  %  %  % 

LATIN  CONDENSED  (18A37)  Size,  .154 

Available:  '/8y4%'/2%%y8'/3%>/5%%%yeVe 
MEMPHIS  BOLD  {18A349)  Em  Size,  .2213 

'/8'/4%y2y8y4%% 

Available :  "/b y4 % y2%%% y3% Vs^/^^MVs VeVa 

113153712 
848284833 

MEMPHIS  BOLD  CONDENSED  (18A407) 
Size,  .166 


y«'/4y8'/2%y4% 


MEMPHIS  EXTRA  BOLD  (18A357)  Size,  .2144 

y8y4%V2%%%>/3 

Available :  Va Vt % y2 %^-4 %  V3 % '/^ %% 


MEMPHIS  LIGHT  (18A347)  Em  Size,  .2213 

1/8  1/4%  1/2%  3/4%  1/3 


1131 
4  24  3 

MEMPHIS  EXTRA  BOLD  CONDENSED 

(18A411)  Size,  .166 

V»%%%Wt 

MEMPHIS  MEDIUM  (18A379)  Size,  .2213 

l/8'/4%l/2y8%%l/3 


METROBLACK  (18A321)  Size,  .2767 

Available:  ya  y4  %  y2  %  %  % 
Size,  .1522 

JLJ_3  i2^ 
4  2  4  3  3 

Available:  aiaJISSiS 
Special  No.  7.  Size,  .2767 

y8y4%'/25/83/4 

Available :  Ve V*^/a V2 %% %  V3 % Vs 


METROLITE  (18A235)  Size,  .2767 

VsVdysViYsVd 

Available:  Va y4%y2%%y8 
Size,  .1522 

J  13. 

4  2  4 

Available:  kiU^ilH 
Special  No.  7.  Size,  .2767 

'/8/4%/2%% 

Available :  y8 Vt % y2^'8 *4 %  V3 %  "5 
METROMEOIUM  (18A257)  Size,  .249 

y8'/43/8'/2  5/8  3/4% 

Available:  y8y4%y2=/a%%y3%ys 
Size,  .1107 

1131 5 3 71 2 
848284833 

METROTHIN  (18A259)  Size,  .249 

y8y4%y2  5/83/4% 

Available:  yey4%y2%%%y3% 
Size,  .1107 

1131537 
8482848 

NARCISS  (18A249)  Size,  .1937 

y4y2y4y3 

OLD  STYLE  No.  1  (18A79)  Size,  .2213 

'/8'/4y8'/2%%%'/3 

OLD  STYLE  No.  7  (18A193)  Size,  .2109 

VsVAysVzVsW/sVs 


988 


LINOTYPE    FRACTIONS 


One-Letter  Displmj—W)  to  GO  Point 


18  P«»int.  rotifintiefl 

PABST  EXTRA  BOLD  {18AS05)  Size,  .332 

Available :  Ve  "A  %  '72%%%  '/a  %  '/a  ^/s  ^^  %  Ve =(3 
Size,  .1383 

iA 3X5  3  7X2X2  3  4 
S4S2S4S335555 

Available:  JjiljBjB.iiJIillf, 

PABST  EXTRA  BOLD  CONDENSED  (18A327) 
Size,  .1937 

/o  /4  /8  /Z  /8  /4  /8  /3  /3 

Size,  .1107 

1111137121 
84S284S335 

PABST  OLD  STYLE  CONDENSED  (18A93) 
POSTER  BODONI  (18A309)  Size,  .3044 

V8»/4%y25/«»/4 

Available:  ''8"4% V2  5,8=/4%',3% 
Size,  .1383 

X13X2 
43433 

TITLE  No.  2  (18A95)  Em  Size,  .2213 

Available:  "s'^^i' 2  =  8='4''8  V3%'/5%%''/5y6% 
lllllllil 

848284833 

TITLE  No.  5  (I8A12I)  Size,  .2213 

'/8'/4%'/2%%%'/3 

VULCAN  BOLD  (18A311)  Size,  .2767 

Available :  'e  W  %  "2  ^  a  %  % 
Size,  .1522 

4  2  4  3 


30  Point 

CHELTENHAM  (20A9)  Size,  .1107 

111153712 
848284833 

GOTHIC  No.  5  (20A15)  Size,  .2075 


21  Point 

BODONI  (21A13)  Size,  .249 

l/8l/4%V2%%y8 

BODONI  BOLD  (21A15)  Size,  .249 

1/8 1/4%  J/2%  3/4% 


LATIN  CONDENSED  (2lAl)  Size,  .0968 

113153712 
848284833 

NARCISS  (21A7)  Em  Size,  .2767 
Available:  '/a"4  3,'8V'2%%'78'/3% 

4  :S4  3  3 

VULCAN  BOLD  (21A21)  Size,  .332 
Available:  Vs ','4 % Vi ^/i  =-< Ta '/a % 


24  Point 

BENEDICTINE  (24A179)  Size,  .3044 

l/8l/4y8V2%y4 

Available :  \'a  '4  %  '72 ^/b^.a  Vs  ','3  %  'A 
Size,  .166 

JLiJ^JL  5  3.7:12. 
8482  8  4833 


BENEDICTINE  BOLD  (24A193)  Em  Size,  .3321 

1/8  1/4%  1/2  5/8 

Available:  ''a'4%y2^'8"4''/8 

Xi3.X2. 
4  2433 


BENEDICTINE  BOOK  (24A185)  Size,  .3044 

1/31/43/8 1/2  %y4 

Available :  Va  'A  %  V2  %  %  %  V3  % 
Size,  .166 

JL1.3.i.5  3.  7. 
8  4  8  2  8  4  8 


BODONI  (24A73)  Em  Size,  .3043 


Available:    •/8'-4%"/2^'8^,4''/8'/3  2/3'/5  2  5*'5'''5"6='6 

13.15.3.212.1.2.3.4 
88284833555  5 

Available:  5iSJI335BSSsUS 


BODONI  BOLD  {24A121)  Em  Size,  .332 

1/8  1/4%  1/2% 

Available :  '  b  '  4  ^ a '  2 ^e ''4 ■" e  '3 % 

-113^1.5.3.7:12. 
848284833 


CAPTION  (24A23)  Size,  .1107 

111312 
842433 


CASLON  No.  3  (24A175)  Size,  .2767 

'/8'/4%'/2%% 

Available:  '  a' 4He"2^8^4''8  '  :.^'3'.'5^5:'5%'/6=/6 


CASLON  OLD  FACE  (24A127)  Size,  .166 

113    15   3    7   12 
8  4"  "8  2    8  4'  "8"  "3"  T 

CENTURY  BOLD  (24Ain7)  Size,  .332 

CENTURY  BOLD  CONDENSED  (24A57) 
Size,  .1107 

113153712 
848284833 

Special  No.  1.  Size,  .1245 

113153712 
848284833 

CHELTENHAM  BOLD  (24A75)  Em  Size,  .3595 

V8V43/8V2% 

Available:  V8V4%'/2  =  8^''4''8' 3%V525',5''5'/6% 

113153  7  1.21 
8482  8483  35 

Available:  Biiliilhihiitki 

CHELTENHAM  BOLD  EXTRA  CONDENSED 

(24A29)  Em  Size,  .2213 

Available:  'i''4='8'2%^4''B' 1^3' 523354 j.ii.5jj 

113153712123415 
848284833555566 

Special  Mo.  1.  Size,  .125 

113153712 
848284833 

CHELTENHAM  CONDENSED  (24A55) 
Special  No.  1.  Em  Size,  .332 

^^8  '/4  Vs  Vl  % 

Available:  Va  14^8^25834%; 3% '/s%%''/s ',6% 

113.15.  3.212.12_ 
84828483  3  55 

Available:  liiii3JJ3J,???i5 

CHELTENHAM  EXTRA  CONDENSED  ITALIC 
(24A165)  Size,  .1107 

113153711113415 
848284833555566 

CHELTENHAM  MEDIUM  CONDENSED  (24A331) 
Size,  .2213 

U 1/3/.  US/ 3/ 7 


8/478/278/478 

CLEARFACE  BOLD  ITALIC  (24A201)  Size,  .2767 
Special  No.  1 

1/8  1/4%  1/2%% 

Available:  ' a' ■>■>»' ■^''a''A-'»y'.K^3't^i',,'>H 


989 


One-Letter  Display— \Q  to  60  Point 


LINOTYPE   FRACTIONS 


24  Point,  continued 

CLOISTER  (24A223)  Size,  .2767 

Available:  '/e  'A  %  V2  %  %  7  a  "3  % 
CLOISTER  BOLD  (24A207)  Size,  .2767 

Available:  '/e'/4%'''2=,i%%'/3%'/5  2,535''5'65'e 
Size,  .1522 

84  8284833555 

Available:  eiSsBSSSSil's 

CONDENSED  OUTLINE  (24A99)  Size,  .2213 

Size,  .1522 
111111111 

14  12^4133 

DeVINNE  CONDENSED  (24A157)  Size,  .2767 

DeVINNE  EXTRA  CONDENSED  (24A27) 

Em  Size,  .208 

ymmmmii 

ilillilllMil 

8828833555566 


DeVINNE  OUTLINE  (24A141)  Size,  .1937 

mil 

4  2  4  3  3 


ERBAR  BOLD  CONDENSED  (24A295) 
Size,  .1107 

1131531111 
8482848335 


ERBAR  LIGHT  CONDENSED  (24A299) 
Size,  .1729 

Size,  .1107 

11315371 
84828483 


ERBAR  MEDIUM  CONDENSED  (24A353) 
Size,  .1937 


GARAMOND  (lUhZlTi  Size,  .2767 

ViVAW/2Vz'A 

Available :  Vs '/4% '/2  5/s^/47'8 '/3% V^V^^'^^k '/6% 
Size,  .166 

111 

4  2  4 

GARAMOND  BOLD  {24A235)  Em  Size,  .3321 
Available:  '/8"/4%'/2%%''8'3% 

113^15.3^2 
84  82848 


GOTHIC  CONDENSED  No.  2  (24A21) 
Em  Size,  .220 

Available :  '/a l-i % '/z^'a^/iya '/•)% y5^5%''/5 Ve Ve 

111153712123415 
848284833555566 

GOTHIC  CONDENSED  No.  3  (24A59)  Size,  .0968 

11312 
42433 

GOTHIC  No.  13  124A51)  Em  Size,  .2767 
Available:  ',8'i='8"2%=,iye'/3%'/s%%'''5'/6% 

42433 

Available:  AigilJliSiggtil 
Special  No.  1.  Size,  .1383 

111 

4  2  3 

GOTHIC  No.  16  (24A139)  Size,  .1798 

iJL3i5  3^7i2^ 
84828483  3 

Special  No.  4.  Size,  .2213 

JL  1   3  1  2 
4   2  4   3  3 

GOTHIC  No.  18  (24A53)  Em  Size,  .2213 

1/81/4^81/25/8^/8 

111 

424 

GOTHIC  No.  41  (24A319)  Size,  .332 

1/4^23/41/32/3 


IONIC  CONDENSED  (24A243)  Size,  .1937 


JENSON  BOLD  (24A183!  Size,  .332 


LATIN  CONDENSED  (24A25)  Em  Size,  .222 

y^y^mw^vh 

1131537 
8482848 

MEMPHIS  BOLD  (24A303)  Size,  .2698 

Available :  Va '/4% '/2%%'/8 '73% 
Size,  .166 

11315 3 712 
84  8284833 

MEMPHIS  EXTRA  BOLD  (24A333)  Size,  .3009 

y4V2%V3% 

MEMPHIS  LIGHT  (24A301)  Size,  .2698 

Available :  Vs >/4% Vz^/e^WM V3 
Size,  .166 

1131 
4  243 

MEMPHIS  MEDIUM  (24A349)  Size,  .2698 


1/41/21/3 


METROBLACK  (24A267)  Size,  .332 

Available :  Va 'A ^'a V2 % %%  '-3 %  ^5 
Size,  .1937 

113.15.3.7:12. 
848284833 

METROLITE  (24A269)  Size,  .332 

1/8  1/4%  1/2% 

Available :  Ve '/4% '/2%%% ','3% 
Size,  .1937 

113.15.3.  7:12. 
848284833 

METROMEDIUM  (24A205)  Size,  .3044 

y8'/4%y25/83/4 

Available:  V'8'/4%V2%%'/8'/3% 
Size,  .166 

11315^712 
848284833 


990 


LINOTYPE    FRACTIONS 


One-Letter  Display— 1()  to  60  Point 


34  Point,  (*o>i(iniiefl 

METROTHIIM  (24A275)  Size,  .3044 

78743/81/25/8% 

Available :  Va 'A % '.2 ^'s  =  4 ''a Vs % 
Size,  .166 

424 

NARCISS  (24A211)  Size,  .332 

Vs  V4  Vs  V2  Vs 

Available :  Va  Vi  %  "2 ^a ^ 4  Va  'A '.'3 

PABST  EXTRA  BOLD  (24A259)  Size,  .3736 

V8V43/8V2% 

Available :  Va  V4 %  V2  ^.a  ViVa  '. '3 %  Vs 
Size,  .1798 

ii3JL537JL2A 

8482848335 

Available:  aiBlailHsiliki 


PABST  EXTRA  BOLD  CONDENSED  (24A279) 
Size,  .249 

/»  /4/8/Z/8  /4/8 

Available:  y8'/4%'/2%%%"/3%'/52'5 
Size,  .1522 

1A31537X2X 

8482848335 

POSTER  BODONI  (24A257)  Size,  .415 

V«  1/4%  1/2 

Available:  '/8'/4%V2  =  ii^47'8"3% 
Size,  .1937 

JLX3^X2 
4343  3 

ROMAN  BOLD  CONDENSED  (24A47)  Size,  .1107 
lilil 

42433 

Special  No.  1.  Size,  .166 

113.11 
4  2  4  3  3 

TITLE  IMo.  5  (24A93)  Size,  .3044 


Available:  ''a'. 


'8     2     8.4  '  a 


3:,7„1'    2, 


'3% 


VULCAN  BOLD  (24A261)  Size,  .3597 

Available:  y8'/4'/'8','2^a^4T8 
Size,  .1937 

4  2  4  3 


37  Point 

BODONI  BOLD  (27A1)  Size,  .1937 

1  JL 
4  2 

28  Point 

ERBAR  BOLD  CONDENSED  (28/il9) 
Em  Size,  .2213 


1 


Vs'AysViVsWiVi 


111153711 
848284833 


ERBAR  LIGHT  CONDENSED  (28A21) 

m/iViyswm 

Size,  .1107 

113153  712 
848284833 


ERBAR  MEDIUM  CONDENSED  (28A23) 
GOTHIC  CONDENSED  No.  3  (28A5)  Size,  .100 

llllill 

8482848 

GOTHIC  No.  14  (28A1)  Size,  .1937 

mmim 


30  Point 

BENEDICTINE  (30A119)  Size,  .3182 

Available :  '/a  Va,  %  ¥2  ^s  ■''  4  Va  Va  Si 
Size,  .166 

111 

424 

BENEDICTINE  SOLD  (30A139)  Size,  .3874 


Available:  ''b'4^8''2  =  «^4''8' 3 
BENEDICTINE  BOOK  (30A131)  Size,  .3182 

Available:    '8'4^8'/25i)54''8'3  =  3's  =  5'.^''5'6  =  8 

Size,  .2075 

11115   3    7 
8  4   8   2   8  4   8 


BODONI  (30A29)  Em  Size,  .3597 
A  va  liable :  Va  ','4  %  ''2  ^a  '  4  T  a ' '3  V3  ','5 

1113^12. 
84  24  3  3 

BODONI  BOLD  (30A69)  Em  Size,  .415 

1/8  1/4  %  1/2 

Available:  '■8'''4%'/2%%'"8V3S'3 

1  13  153^  7:1  2^ 
8  4  8  2  8  4  8  3  3 

CAPTION  (30A5)  Special  No.  1.  Size,  .246 
CASLON  No.  3  (30A113)  Em  Size,  .415 

%  1/4  ys  1/2 

Available:  '/8'/4%"'25«^4''8 '  :.%''5  =  5='5''5'6  =  6 

iJL3.JL5.3.7.JL2. 

84  8  284  8  3  3 

CASLON  OLD  FACE  (30A129)  Size,  .2075 

113    15    3    7    12 

8"  4"  8"  ~i  8  'A  ¥  y  y 

CENTURY  BOLD  (30A89)  Size,  .2075 

JLJL3. 
4  24 

CHELTENHAM  BOLD  (30A31)  Size,  .415 

Vs  V4  %  V2 

Available :  "a '4 % "2^8 ^4 'a 'a % '-'5 

CHELTENHAM  BOLD  CONDENSED  (30A71) 
Size,  .166 

11315371212 
84828483355 

Available:  8435133.' '.^ssrSJS 

CHELTENHAM  BOLD  EXTRA  CONDENSED  (30A7) 
Em  Size,  .2213 

Wkwim 

Available:  '  »  ' -i^a  '  j5„  '4''„  '  ,- j  ' -,  =  5 '-,^', 'r.^s 

113153712123415 
848284833555566 

Special  No.  1.  Size,  .146 

11311 
42433 


991 


One-Letter  Display— 16  to  60  Point 

LINOTYPE   FRACTIONS 

30  Point,  continued 

ir-'IC  CONDENSED  (30A185)  Size,  .2213 

METROTHIN  (30A205)  Size,  .3874 

CLOISTER  (30A161)  Size,  .3321 

1/8  1/43/8  1/2  5/8 

m%Wz%7z 

/s  1/4%  1/2 

Available :  Va  V*  %  y2  %  %  %  V3  % 

Available;  '/8y4%'/2%%78 

CLOISTER  BOLD  (30A155)  Em  Size,  .3874 

MEMPHIS  BOLD  (30A225)  Size,  .3182 

y8y4%y25/8 

Size,  .2075 

1   1  3 
424 

V8V4y8y2 

Available:  '/a 'A % '72% VtVs V3 % 
Size,  .1937 

Available :  Vg 'A % V2 %%y8 V3 % 

113  1 

METROTHIN  No.  4  ITALIC  (30A249)  Size,  .3874 

113 
424 

424  3 

/8/4%y2 

MEMPHIS  EXTRA  BOLD  (30A277)  Size,  .3528 

Available :  Va V* % y2%%y8 

CONDENSED  OUTLINE  (30A53)  Em  Size,  .3597 

Va  V2 

fl  11  3  D  S  3  1  11  2 
i4§2§4§33 

DeVINNE  CONDENSED  (30A83)  Size,  .3044 

V^VzVs 

NARCISS  (30A159)  Em  Size,  .3597 

MEMPHIS  LIGHT  (30A223)  Size,  .3182 

VsV^ysV^Ys 

V8V4%y2% 

Available:  '/8'/4%'/2%%% 

Available:  VaV^VaVi^/aVtVaVa 

113  12 
,42433 

'/4'/2% 

Size,  .1937 

112.1 
4243 

PABST  EXTRA  BOLD  (30A201)  Size,   .498 

Size,  .1798 

113  15  3  7  12 

84  828483  3 

GARAMOND  C30A165)  Size,  .332 

Vs  V4  Vs  Vz  Vs 

Available:  V8V4%V2=,8%%"3% 

MEMPHIS  MEDIUM  (30A271)  Size,  .3182 

1/41/21/3 

METROBLACK  (30A193)  Size,  .415 

l/8!/4%y2 

V4»/Z% 

Size,  .2213 

1131537  1 
84828483 

PABST  EXTRA  BOLD  CONDENSED  (30A207) 
Size     3182 

GARAMOND  BOLD  (30A173)  Size,  .332 

V4y2V4V3y3 

Available :  Va V*% "A^^'/a V3% 
Size,  .249 

113  15  3  7 
8  4  8  2  8  4  8 

/8/4/8/2/8 

Available:  ya  y4  %  y2  Va  %  Va  V3  % 

GOTHIC  CONDENSED  No.  2  (30A3)  Size,  .2075 

/8/4/8/2/8/4/8/3/3 

Available :  VaVi  %  V2  %  %  Vs  Vs  %  Vs  %%  %  '/e  % 
Special  No.  1.  Size,  .1522 

Available;  JJg5l315S 
METROLITE  (30A197)  Size,  .415 

1/81/43/81/2 

113153712 
848284833 

POSTER  BODONI  (30A79)  Size,  .4289 

113153712123 
848284833555 

Available :  Va '.4% '/2%%''/a  '/3% 
Size,  .249 

1113  12 

l/«l/4%l/2 

Available:    siasliiiiaSBBsee 

842433 

Available:  Va  V4  %  Vi  %  %  %  Vs  % 

GOTHIC  No.  16  (30A93)  Size,  .3942 

y8y4y8y2 

Available:  VaVt^/eVi^^Aya '/3% 

METROMEDIUM  (30A203)  Size,  .3874 

V8V4V8V2 

1131312 
8482433 

Size,  .1798 

Available:  yay4%'/2%%%'/3% 

TITLE  No.  5  (30A47)  Size,  .3459 

113  12 
42433 

Size,  .2075 

1131 
4243 

»/8 1/4%  1/25/8 

Available:  4i§JI355S 

Available:  V8y4%'/2%%%y3% 

992 


LINOTYPE    FRACTIONS 


One-Letter  Display— if)  to  60  Point 


34  Point 


ERBAR  BOLD  COIMDENSED  (34A11) 
Size,  .2629 


Vi%YiV2%'m 


Available:  "8"4%'2s«^4'"h":,% 
Size,  .1798 


11115 3  Till 
84  82848335 


ERBAR  LIGHT  COIMDENSED  (  <4S  li) 
Em  Size,  .249 

%%Yzy2yz'Ayi 

Available:  '.'„ V4%y2%%%'/:i% 

11312 
42433 


ERBAR  MEDIUM  CONDENSED  (34A15) 


Available;  'nU^a'^'^s^i'H ':i% 

36  Point 

BENEDICTINE  (36A79)  Size,  .3874 

VsVaYbVi 

Available:  ',8'4^8"2^1i^4''b'3^'3 
BENEDICTINE  BOLD  (3bA87)  Size,  .4704 

Vs  Va  Vs  Vz 

Available:  ','8V4^/8''2^8^4''8 
BENEDICTINE  BOOK  (36A83)  Size,  .3874 

Available:  '/a'.4^8''2^8^4''e'i^3 
Size,  .249 

113  15  17 
8  4   8   2   8  4   8 

BODONI  (  .ibAiy)  Size,  .JS95 

Available:  'n' 4-''8' L-''8''4''b  '  ..^b 
Size,  .2213 

111312 
8  4  2  4  3  3 


BODONI  BOLD  (36Afe5)  Size,  .332 

Available:  '/e'/4%"/2^8^4%'/:i% 
Size,  .2213 

84  24  33 


CAPTION  (36A5)  Size,  .112 

II3I537I2I234I5 
848284833555566 

Spr-cial  Mo.  1 .  Size,  .150 

11312 
42433 

CASLON  (36A147)  Size,  .2906 

Available:  '  8 ',  4  %  Vi  =/8  %  % ',  .i  % 
CENTURY  BOLD  (36A5S)  Size,  .498 

1/41/21/3 

Available:  '8'4^8'2^8'4''b'3^3'5 
Size,  .249 

8482  848 

Available:  iiSlJiJla 
CHELTENHAM  (36A43)  Size,  .1937 

111112 
842433 

CHELTENHAM  BOLD  {3bA33)  Em  Size.  .5257 

1/8  1/4  % 

Available:   '  a  '  4^8' 2  =  8''4''8  '  1  =  3  '  s 

8  4  8  2  8  48 

Available:  kiiiiUMk 

CHELTENHAM  BOLD  CONDENSED  {36A73) 

113153711 

848284833 


CHELTENHAM  BOLD  CONDENSED  ITALIC 
(36A157)  Size,  .3321 

Available     '  «■  4»»''2^H''47'R';,  =  3"^2f^'s'';-. 
CHELTENHAM  BOLD  EXTRA  CONDENSED 

m/mm 

Available :  ' i '  4 ^r  V2\,''4'"8 '  ■i?'3'/5^.5%''.i '.6% 

illllilil 

848284833 

GARAMOND  BOLD  (36.'. 97)  Size,  .3459 

y4y2%V3y3 


GOTHIC  CONDENSED  No.  2  (36A23)  Size,  .2109 

YMWm 

Available:     V8'4%V25,8-''4''r'3^/.i'5-.1^5''3'6-';6 

GOTHIC  No.  13  (36A61)  Em  Size,  .3874 
Available:   '  b  '  4^b' l.^» '4''»  ■  .^i'-. 

111111111 

848284833 

GOTHIC  No-  16  (  i6A59)  Size,  .2109 

11312 
42433 

Available:  kHiiiHi 

MEMPHIS  BOLD  (36A129)  Size,  .3874 

y8i/4%y2 

Available:   's  '  4-'b  '  2''r'4'b  '  .1^3 
Size,  .2351 

1131 
4  24  3 

MEMPHIS  BOLD  CONDENSED  (3bA163) 

Size,   .l„f, 
111 

423 


993 


One-Letter  Display— \Q  to  60  Point 


LINOTYPE   FRACTIONS 


36  Point,  con  tilt  tierf 

MEMPHIS  EXTRA  BOLD  CONDENSED  (36A167) 
Size,  .166 

111 

824 

MEMPHIS  LIGHT  (36A127)  Size,  .3874 

Available:  Ve 'A % '/^ % 3,4 7/3 
Size,  .2351 

113 
424 

METROBLACK  (36A103)  Size,  .498 

y8V4% 

Available :  '/a '  '4 % '/2%%% '3 % 
Size,  .2906 

iJL3.J_5.A 
848284 

Available:  a-ioJISSiS 
METROLITE  (36A105)  Size,  .498 

1/81/4% 

Available :  '. e ',4^8 '2^8^.4 Vb ',3 
Size,  .2906 

J_J_  3.15.3. 
848284 

Available:  aisatSSJS 
METROMEDIUM  (36A109)  Size,  .4704 

V8V4% 

Available:  ',8'/4%'/2%%y8y3% 
Size,  .249 

JLJL3JL2 
42433 

METROTHIN  (36A111)  Size,  .4704 

/s  1/4  %  Vi 

Available:  '4  Vi  %  Vz  %  ^M  %  Va  % 
Size,  .249 


113. 
424 


NARCISS  (36A89)  Size,  .2351 


±±3  1.5.3  7 
8  4  8^848 


PABST  EXTRA  BOLD  CONDENSED  (36A125) 
Size,  .3736 

/8/4/8/Z/9 

Available:  ■8'i%Vi%34''8''H% 
Size,  .2351 

842433 

POSTER  BODONI  (36A123)  Size,  .5119 

•/»»/4% 

Available:  •/ei/4%>/2%a'4y8y3% 
Size,  .2351 

42433 


43  Point 

ERBAR  BOLD  CONDENSED  (42A49)  Size,  .339 
(Casts  on  36  point  body) 


y%Vi.w/i'k 


t 


Available:  'a'438'2  58%T-eV3% 
Size,  .2213 


1111 

4433 


ERBAR  LIGHT  CONDENSED  (42A47) 
Size,  .2906 
(Casts  jn  36  point  body) 

m/m 

Size,  .1937 


ill 

424 


GOTHIC  No.  14  (42A1)  Size,  .154 
(Casts  on  36  point  body) 


11312 
42433 


GOTHIC  CONDENSED  No.  2  {42A27)  Size,  .1937 
(Casts  on  36  point  body) 

11112 
42433 

PABST  EXTRA  BOLD  CONDENSED  (42A61) 
Size,  .4289 
(Casts  on  36  point  body) 


48  Point 

ERBAR  BOLD  CONDENSED  No.  1  (48A19) 
Size,  .3874 
(Casts  on  36  point  body) 


1 


m^uyi 


Size,  .249 


1111 

4243 


GOTHIC  CONDENSED  No.  3  (48A3) 
Size,  .3182 
(Casts  on  45  point  body) 


1 


2 


Size,  .1798 

ill 

424 


54  Point 


GOTHIC  No.  14  (54A1)  Size,  .1798 
(Casts  on  45  point  body) 


11312 
42433 


60  Point 

ERBAR  BOLD  CONDENSED  (60A9)  Size,  .4704 
(Casts  on  45  point  body) 


1 


mvi 


3 


994 


REGULAR   ADVERTISIIVG   FRACTIOIVS 

10  to  :S0  Point 

(Sec  Figures,  j XI (/(■  H.'^S) 


POSTER  BODONI  (18A337)  Size,  .3044 
(Casts  Two  Lines  8  Point) 

V4 1/2%  1/3% 

Size,  .1383 

1JL3JL3  1_2 
84824  3  3 

POSTER  BODONI  (24A291)  Size,  .415 
(Casts  Two  Lines  10  Point) 

1/4V2%V3 

Size,  .1937 


POSTER  BODONI  (30A237)  Size,  .4?89 
(Casts  Two  Lines  12  Point) 

V4V23/4I/3 

Size,  ,1937 

42433 


BOLD  FACE  No.  6  (18A109)  Size,  .1 383 
(Casts  Two  Lines  8  Point) 

113153712 

8  4  8  2  8  4  8  3  3 

BOLD  FACE  No.  6  (24A67)  Size,  .1798 
(Casts  Two  Lines  10  Point) 

JLi3.JL3.JL2. 
8  4  8  2  4  3  3 


BOLD  FACE  No.  6  (30A23)  Size,  .4288 
(Casts  Two  Lines  12  Point) 

1/4  V2  %  VZ 

LINING  CASLON  (2  lA35)  Size,    1798 
(Casts  Two  Lines  10  Point) 

84828483  3 

CENTURY  BOLD  (18A9)  Em  Size,  .249 
(Casts  Two  Lines  8  Point) 

y8y4%y2%y4% 

Available:  VaVtVe'z^ e^ ■^''n' ^''^"s 

1131537121 

8482848335 

CENTURY  BOLD  (24A15)  Em  Size,  .332 
(Casts  Two  Lines  10  Point) 

VsV4VhV2Vs 

A  V  a  i  1  ab  I  e :  '/e ',  4  %  Vi;  ^  u  ^  4  %  V -i  %  '/s 

H3.1A3.7:JL2.i. 
8482848335 


CENTURY  BOLD  {30A25)  Size,  .2075 
(Casts  Two  I  ines  1  .■'   Point) 

JLi3._l  5.3.7:JL2. 
84  8  2  84833 


CHELTENHAM  (18A255)  Size,  .2109 
(Casts  Two  Lines  8  Point) 


■/4'/2%'/r/! 


CHELTENHAM  (24A195)  Size,  .3044 
(Casts  Two  Lines  10  Point) 


'/4 '723/4 


CHELTENHAM  BOLD  (18A13)  Size,  .249 
(Casts  Two  Lines  K  Point) 

V8V4%y2%%% 

Available:  V8"'4=/8V2rB=,:i''«';.23''o  =  i-'r.^r.'«  =  ii 

Size,  .1452 

iJL3.JL5.3.7:i2.JLi 
84828483356 


CHELTENHAM  BOLD  (J4/:.'j)  Sizp,  .3).' 
(Casts  Two  Lines  10  Point) 

V8V43/8V25/8 

Available:  VeW-'/B'/:i''.'aViVa'.iV3 
Size,  .1857 

113  15  3  712 
848284  8  33 

Special  No.  1.  Size,  .Ifafa 

11372 
42483 


CHELTENHAM  BOLD  (30A179)  Size,  Abb 
(Casts  Two  Lines  12  Point) 

11312 
42433 


CHELTENHAM  BOLD  CONDENSED  (18A17) 
Em  Size,  .2352 
(Casts  Two  Lines  8  Point) 

V8V4%V2V8%V8V3 

AvLUluljlr:    '»'.r'B'.j''..'i\.'  i-.,'i 

113.15.1111 
848284833 


CHELTENHAM  BOLD  CONDENSED  (24A37) 
Em  Size,  .2767 
(Casts  Two  Lines  10  Point) 

l^V4%V2%3/4 

Available:  'i' 4%'i^B^4'!8'3%'b 

1  13153712 
848284833 


CHELTENHAM  BOLD  CONDENSED  '  S0..'.43) 
Em  Size,  .332 
(Casts  Two  Lines  12  Point) 

Available:  '  b' 4-'a' :;^i.-!4''a';.  =  3'i 

1131537121 
8482848335 


CHELTENHAM  BOLD  EXTRA  CONDENSED 
(24A191)  Size,  .1107 
(Casts  Two  Lines  10  Point) 

11131 
84243 

CLOISTER  BOLD  (18A323)  Size,  .1107 
(Casts  Two  Lines  8  Point) 

11112 
42433 

CLOISTER  BOLD  (24A271)  Size,  .1522 
(Casts  Two  Lines  10  Point) 

mil 

4  2433 


CLOISTER  BOLD  (30A195)  Size,  .1937 
(Casts  Two  Lines  12  Point) 


113.12. 
4  2  4  3  3 


DeVINNE  CONDENSED  (18A47)  Size,  .2075 
(Casts  Two  Lines  8  Point) 

14  Vi  % 

Available:  i4''2^4'-:'3 
Size,  .1107 

111153111 

848284833 

DeVINNE  CONDENSED  (24A33)  Em  Size,  .2767 

(Casts  Two  Lines  10  Point) 

'/4'/2%%'/32/3 


11115^1111 

848284833 


DeVINNE  CONDENSED  (30.\39)  Size,  .1798 
(Casts  Two  Lines  12  Point) 


mill 

84  243  3 


ERBAR  BOLD  CONDENSED  (24A361)  Size,  .1107 
■X.ists  Two  Lines  10  Point) 


1111 

4243 


GOTHIC  CONDENSED  No.  1  (16A9)  Size,  .0968 
iCasts  Two  Lines  8  Point) 


I   I  3  I  2  2 
4  2  4  3  3  5 


995 


Regular  Advertising  Fractions— 16  to  30  Point 


LINOTYPE   FRACTIONS 


GOTHIC  CONDENSED  No.  1  (18A29)  Size,  .204 
(Casts  Two  Lines  8  Point) 

Size,  .112 

11115  3 71112 3  415 
8482  8483  3555566 

GOTHIC  CONDENSED  No.  1  (24A19) 
Em  Size,  .224 
(Casts  Two  Lines  10  Point) 

111153712 
848284833 

GOTHIC  No.  13  (18A289)  Size,  .1107 
(Casts  Two  Lines  8  Point) 

11115 3712 
848284833 

GOTHIC  No.  13  (24A187)  Size,  .2698 
(Casts  Two  Lines  10  Point) 

Available :  Va 'A % Va^/a %% 'A % 
Size,  .1383 

1111312 
8482433 

GOTHIC  No.  13  (30A37)  Size,  .332 
(Casts  Two  Lines  12  Point) 

Va  y4  %  Vi  'k 

Available :  '/a  'A  %  'A  =/a  %%  Va  %  '/s 

GOTHIC  No.  16  (18A5)  Size,  .1793 
(Casts  Two  Lines  8  Point) 

llllllllll 

8482848335 

GOTHIC  No.  16  (24A45)  Size,  .2213 
(Casts  Two  Lines  10  Point) 

lJL3JL537i 
84828483 

GOTHIC  No.  16  (30A33)  Size,  .3942 
(Casts  Two  Lines  12  Point) 

Size,  .2629 

i  i  3.  i  2. 
4   2   4   3    3 

GOTHIC  No.  39  (18A367)  Size,  .249 
(Casts  Two  Lines  8  Point) 

"/4y2%'/32/3 

GOTHIC  No.  39  (24A309)  Size,  .3044 
(Casts  Two  Lines  10  Point) 

1/41/23/41/32/3 

GOTHIC  No.  39  (30A231)  Size,  .3874 
(Casts  Two  Lines  12  Point) 

74^23/4  73 

Available:  'iVi%'/3% 


GOTHIC  No.  40  (18A369)  Size,  .2767 
(Casts  Two  Lines  8  Point) 

1/4  1/2  3/4  1/3  2/3 


GOTHIC  No.  40  (24A3II)  Size,  .332 
(Casts  Two  Lines  10  Point) 

1/41/23/41/32/3 


GOTHIC  No.  40  (30A233)  Size,  .415 
(Casts  Two  Lines  12  Point) 

1/4  1/2  3/4  1/3 

Available:  •A'/2%'/3  =  3 

GOTHIC  No.  41  (18A371)  Size,  .2767 
(Casts  Two  Lines  8  Point) 

'/4V2  3/41/32/3 

Size,  .166 

JLl  3^  JL  2^ 
4  2  4  3  3 

GOTHIC  No.  41  (24A313)  Size,  .332 
(Casts  Two  Lines  10  Point) 

y4y2%V32/3 

Size,  .1937 

JLJ_3.J_2. 
4  2  4  3  3 


GOTHIC  No.  41  (30A235)  Size,  .415 
(Casts  Two  Lines  12  Point) 

'/4V23/4V3 

Available:  '/4'/2%'/3% 
Size,  .249 

JLJL  3.JL2. 
4  2  4  3  3 

MID  GOTHIC  (18A3)  Size,  .1383 
(Casts  Two  Lines  8  Point) 

llllllllll 

8482848336 

MID  GOTHIC  (24A39)  Size,  .166 
(Casts  Two  Lines  10  Point) 

111153712 
848284833 

IVIID  GOTHIC  (30A51)  Size,  .2075 
(Casts  Two  Lines  12  Point) 

1111  5.1  7  11 
848284833 

JENSON  (24A31)  Size,  .166 
(Casts  Two  Lines  10  Point) 

113.15.3.212. 
848284833 


1 


MEMPHIS  BOLD  (18A397)  Size,  .1107 
(Casts  Two  Lines  8  Point) 

11312 
424  33 


MEMPHIS  BOLD  (24A345)  Size,  .2698 
(Casts  Two  Lines  10  Point) 

^4^23/41/32/3 

Size,  .166 

11312 
42433 


MEMPHIS  BOLD  (30A265)  Size,  .3182 
(Casts  Two  Lines  12  Point) 

y4l/2%l/32/3 

Size,  .1937 

11312 
4  24  33 


MEMPHIS  BOLD  CONDENSED  (30A279) 
Size,  .1522 
(Casts  Two  Lines  12  Point) 


113 
424 


MEMPHIS  EXTRA  BOLD  (18A403)  Size,  .2144 
(Casts  Two  Lines  8  Point) 


y4>/2%V3% 


Size,  .1107 

11312 
42433 


MEMPHIS  EXTRA  BOLD  (24A355)  Size,  .3009 
(Casts  Two  Lines  10  Point) 

V4y2%y3% 

Size,  .166 

11312 
42433 


MEMPHIS  EXTRA  BOLD  (30A285)  Size,  .166 
(Casts  Two  Lines  12  Point) 

113i2 
42433 


MEMPHIS  LIGHT  (30A275)  Size,  .1937 
(Casts  Two  Lines  12  Point) 


11312 
4  24  33 


MEMPHIS  MEDIUM  (24A369)  Size,  .166 
(Casts  Two  Lines  10  Point) 


11312 
4  2433 


METROBLACK  (18A325)  Size,  .2767 
(Casts  Two  Lines  8  Point) 

'/4y2%V32/3 

Size,  .1522 

JLJL  3  J   5^  3^712^ 
848  284833 


996 


LINOTYPE    FRACTIONS 

Regular  Advertising  Fractions— 16  to  30  Point 

METROBLACK  (24A277)  Size,  .332 
(Casts  Two  Lines  10  Point) 

METROMEDIUM  (24A305)  Size,  .166  (Continued) 
(Casts  Two  Lines  10  Point) 

PABST  EXTRA  BOLD  (24A255)  Size,  .1798 
(Continued) 

1/41/21/32/3 

1113  12 
842433 

(Casts  Two  Lines  10  Point) 

1131537  12 

848284833 

113  15  3  7  1 

2 

METROMEDIUM  (30A227)  Size,  .3874 
(Casts  Two  L  ines  12  Point) 

PABST  EXTRA  BOLD  CONDENSED  (18A343) 

84828483 

3 

1A3/..  1A2A 

Size,  .1937 

(Casts  Two  Lines  8  Point) 

METROBLACK  (30A251)  Size,  .249 
(Casts  Two  Lines  12  Point) 

/274  /3v3 

Available:  >/4  l':;^:. '/;,=, i 

/4  /2  /4/3  /3 

1 

2 

METROMEDIUWl  (18A359)  Size,  .249 
(Casts  Two  Lines  8  Point) 

'/4y2%'/3  2/3 

Size,  .2075 

113  12 
4243  3 

PABST  EXTRA  BOLD  (18A307)  Size,  .332 
(Casts  Two  Lines  8  Point) 

»/4»/2y8¥4»/3 

PABST  EXTRA  BOLD  CONDENSED  (24A289) 
Size,  .249 
(Casts  Two  Lines  10  PointI 

/8  /4  /8  /2  /8  /4  /8 

Available:  'B'43B'-.  =  e^4'«''j"j 

PABST  EXTRA  BOLD  CONDENSED  (30A221) 

Si?e     249 

Size,  .1107 

Size,  .1383 

(Casts  Two  Lines  12  Point) 

1113121 
8424335 

1131537  12 
84  S2S4S33 

/4/3/3 

METROMEDIUM  (24A305)  Size,  .3044 
(Casts  Two  Lines  10  Point) 

PABST  EXTRA  BOLD  (24A255)  Size,  .3736 
(Casts  Two  Lines  10  Point) 

Available:  ',4'.i34''3% 
Size,  .1522 

1/41/23/41/32/3 

V4V25/83/4V3 

11312 
42433 

SPECIAL   ADVERTIS1I\G   FRACTIOI\S 

30  to  48  Point 

(See  Figures,  page  !)51 ) 


CENTURY  BOLD  (42A11)  Size,  .2766 
(Casts  Three  Lines  12  Point) 

11315 3 
8482  84 

Available:  BiilJsjaiaJlatoi 

CHELTENHAM  BOLD  (42A9)  Size,  .3112 
(Casts  Three  Lines  12  Point) 

13  5X1 
8  8  8  8  6 

CLOISTER  BOLD  (42A51)  Size,  .3874 
(Casts  Three  Lines  10  Point) 

DeVINNE  CONDENSED  (36A29)  Size,  .2213 
(Casts  Three  Lines  10  Point) 

113^12. 
42433 

DeVINNE  CONDENSED  (42A15)  Size,  .249 
(Casts  Three  Lines  12  Point) 

11^11 

42433 


GOTHIC  No.  13  (42A53)  Size,  .401 
(Casts  Three  Lines  12  Point) 

V4V2»/4V3 


Size,  .1798 


11312 
42433 

GOTHIC  No.  16  (42A7)  Size,  .3873 
(Casts  Three  Lines  12  Point) 

113  1 
8  4  8   2 

Available:  iii'-'Ulhi 

GOTHIC  No.  39  (36A131)  Size,  .4704 
(Casts  Three  Lines  10  Point) 

'/4y2% 

Available:  Vi  Vi  % '/  i  % 

GOTHIC  No.  39  (42A39)  Size,  .387 
(Casts  Three  Lines  12  Point) 

1/4/23/4/3 

Available:  '.'4'.i^4' j^-j 


GOTHIC  No.  40  (36A133)  Size,  .498 
(Casts  Ttiree  Lines  10  Point) 

1/4  1/23/4 

Available:  '/4'/2=!4'/3% 


GOTHIC  No.  40  (42A41)  Size,  .3874 
(Casts  Three  Lines  12  Point) 

/4/2/4/3 

Available:  Vi '/2^4'/3% 


GOTHIC  No.  41  (36A135)  Size,  .498 
(Casts  Three  Lines  10  Point) 


1 


'A 'A  3/4 


Available:  '4',2^4'3-3 


113.12. 
4  2433 


997 


Special  Advertising  F  Tactions - 

-30  to  48  Point 

LINOTYPE    FRACTIONS 

GOTHIC  No.  41  (42A43)  Size,  .3874 
(Casts  Three  Lines  12  Point) 

Available:  '/4'/2%'/3^'3 
Size,  .249 

11312 
42433 

MEMPHIS  EXTRA  BOLD  (48A23)  Size,  .588 
(Casts  Three  Lines  12  Point) 

VERTICAL  SLUG   FRACTIOT^S 

6  to  10  Point 

6  Point 

No.  2  (6A49)  Size,  .083 

8  Point 

No.  2  with  GOTHIC  No.  6  (8A4}  Size,  .1107 

H-J-  rtl«  PW 

10  Point 

DeVINNE  (10A244)  Size,  .1383 

H«  r^-f  «|Qfj  H»l  lOix  «!-*  i-lx  ^in  -mIm  H"  'MI'O  otIo  -H'C: 

PABST  EXTRA  BOLD  (30A217)  Size,  .498 
(Casts  Two  Lines  12  Point) 

V4V25/8 

Available:  '/4'/2%%'/3% 
Size,  .2213 

113  12 
42433 

PABST  EXTRA  BOLD  (36A113)  Size,  .5949 
(Casts  Three  Lines  12  Point) 

Available:  y8y4%'/2%y8'/3'3 
Size,  .2767 

113153 

848284 

Available:  JiiiJgjSiS 

PABST  EXTRA  BOLD  CONDENSED  (42A37) 

Size,  .4704 

(Casts  Three  Lines  12  Point) 

1/1/  ^LtL 

SUPERIOR  FRACTIONS 

18  to  36  Point 

(for  One- Letter  Display) 

POSTER  BODONI  (30A79)  Size,  .1107 
Special  No.  2 

-■   11S1312 
■  »483433 

CHELTENHAM  BOLD  CONDENSED  (24A123) 
Em  Size,  .1937 
Special  No.  2 

1  'A  '/2  'A 

113  12 
12  4  3  3 

Available:  '/8'/4%'/2=/b%%'/3 

CHELTENHAM  BOLD  CONDENSED  (30A71) 
Size,  .110 
Special  No.  2 

1  11312 
142433 

GOTHIC  No.  13  (30A59)  Em  Size,  .1937 
Special  No.  1 

4  1  1  3  1  3  1  2 
1 8  4  8  2  4  3  3 

GOTHIC  No.  16  (18A179)  Size,  .1937 
Special  No.  2 

1-/2 

Special  No.  4.  Size,  .166 

GOTHIC  No.  16  (24A139)  Size,  .1107 
Special  No.  1 

1/2 

«   Al 312 
1424  33 

Special  No.  4.  Size,  1937 

1'^ 

GOTHIC  No.  16  (30A93)  Size,  .1107 
Special  No.  3 

gm     1131312 
J    84824  3  3 

GOTHIC  No.  41  (18A377)  Size,  .166 
Special  No.  3 

1  1/4  Vl  V3 

GOTHIC  No.  41  (24A319)  Size,  .2213 
Special  No.  2 

yAVz  W/sVs 

METROBLACK  (30A193)  Size,  .1107 
Special  No.  2 

1  1JL3I12 
|42433 

PABST  EXTRA  BOLD  CONDENSED  (36A125) 
Size,  .1107 
Special  No.  3 

1* 

74727473 

Size,  .2629 

113121 
424335 

PABST  EXTRA  BOLD  CONDENSED  No.  1 

(48A13)  Size,  .4842 
(Casts  Three  Lines  12  Point) 

Size,  .3044 

1131 
4243 

SUPERIOR 
FRACTIONS 

18  and  24  Point 

(for  Regular  Advertising 
Figures) 

POSTER  BODONI  (18A337)  Size,  .1937 
Special  No.  2 

J  1/4  1/2  3/4  1/3  2/3 

POSTER  BODONI  (24A291)  Size,  .2213 
Special  No.  2 

998 


PIECE  FRACTIO]\S-5  to  14  Point 


5  Point 

11  Point 

No.  1  (12A2)  Size,  .033 
ICast",  on  6  point  body) 

No.  18  (5Al)  Size,  .035 

No.  1  (11A2)  Size,  .077 

Upper  Figures           —  1„  24  5  6  78  9  0 

Upper  Figures  Plain-    ij:i4-.n7»iiii 

Upper  Figures  Plain       1  '_* .".  1  ."1  (1  7  .S  '.t  (( 

Lower  Figures  Plain    -124.')  078  9  0 

Lower  Figures          — V/MiAVa 

Upper  Figures           — i s.'j^-'jfiT^ijfj^ 

Lower  Figures  Plain —  1  li  .'I  1  .">  (I  7  .Si*() 

Lower  Figures  Plain — lJ:l4.^67»»o 

14  Point 

5IA  Point 

12  Point 

GOTHIC  CONDENSED  No.  2  !  1  4/3)  Size,    0553 

" 

No.  1  (12A2)  Size,  .084 

Upper  Figures  Plain      123456789 

No.  1  (SVzAl)  Size,  .0385 

Upper  Figures  Plain  -1  2  .'{ -4  5  C  7  S  !)  0 

Upper  Figures  Plain — i:':n.-,ii;«iio 
Lower  Figures           — r-.'iiilviir's'u 

/,  /  /  /  /_/./_/  / 
Lower  Figures           —  J  U  .*>  4  ;» <)  i  S  9 

lower  Figures  Plain      123456789 

Upper  Figures           — u;a,.5S^(j7,»fio^ 

Lower  Figures  Plain — i^:ur.B7si)o 

Upper  Figures           —1  '^  :',  4  f)  C)  7  S  '.Ml 

/////////  /■ 

No.  3fa  (14A12)  Size,  .070 
Upper  Figures  Plain— 1 1'."'>  1  .~)(J7S!)() 

6  Point 

Lower  Figures  Plain-  - 1  U  '»  4  ."»  (>  7  <S  11  0 

(Above   fractions   also   available  on   .077   width   as 

„ 

Special   No.   1) 

Lower  Figures  Plain— ll'."',  |.)(i(,S!H) 

No.  1  (6A1)  Size,  .0415 
Upper  Figures  Plain — ij:i45(;".s;io 
Lower  Figures           — V/AiiisWo 

Upper  Figures           — i/-;.s,4,.^t)7>j',)c) 
Lower  Figures  Plain — r_'.'i45U7Ksn 
(Above  fractions  also  available  on   .0484   width   as 

FRACTIOIVS   FOR   LIIVIIVG   FACES 

Special  No.  1) 

6  Point 

GOTHIC  No.  31A  with  GOTHIC  No.  32A 

7  Point 

(6A258)  Em  Size,  .1107 

BOLD  FACE  No.  9  with  GOTHIC  No.  31  (6A212) 

'k'43e'2583^73,  3231^2^3^4^,  ^5^ 

No.  28  (7AI8)  Special  No.  1.  Size,  .0667 

Size,  .1107 

'8'4='a'2^B=4^8'3^,'5=5    'sS'fe'^e 

Upper  Figures  Plain —  '  -  ■''  •»  ■'•  ('  7  x  ■■>  « 

's'   ,^s'j''«-'','s'.,-.i'.s 

e  48264  8 

'a'a^a'a^e'^^a'a^a's 

kil\lil 

Lower  Figures  Plain —  1  L'  :)  I  .'•.  i;  7  s  ip  0 

GOTHIC  No.  31B  with  GOTHIC  No.  32B 

BOLD  FACE  No.  9A  with  GOTHIC  No.  31A 

(6A260)  Em  Size,  .1107 

8  Point 

(6A218)  Size,  .1107                      Size,  .0692 

1       1      ;(      1  /  .-».    ;t     T      I  '  2      I                1    1   :i   1   :i   I    J 

'    8   '    4    ■*  8   '/z  ^8^4'8'3^3'S^5^5^'.'6  ^6 

No.  1  (BAD  Size,  .0485 

s     !     s     -J  ,  «     1     H     ;{     .(    .'>          .»  1  H  J  i  .1   ( 

'    a    '    4    '  a   '    i   ^  6    '4   l  8  ',  3  Vi  ',  5    ■  5  3  S   -  5  '•  6  Vi 

Upper  Figures  Plain — l:i.'i4."i(i7xUI) 

Lower  Figures           —iilWr/tiYni) 

BOLD  FACE  No.  9B  with  GOTHIC  No.  31B 

(6A216)  Em  Size,  .1107 

GOTHIC  No.  31C  with  GOTHIC  No,  32C 

Upper  Figures           — 1  :>:!,'^'><^'^,x(|(J 

',~'4 '..'.■^»^,4  v»Vj"a      J  ',,;;•;;■, i 

(6A262)  Em  Size,  .033 

'.  8  '  4  1  e  \'z  =-  a  V-i  '/o  V'3  2,  3         ;  J  ^ ;  3  !  i  '1 

VbV^^8V2%?478"3?3V5^5?4''5               iii 

Lower  Figures  Plain — }2:Hiiti~SW 

WM^</2Ml4lB'/2'V^'V,'s                i',} 

(Above  fractions  also  available  on  .0622  width  as 

BOLD  FACE  No.  9C  with  GOTHIC  No.  31C 

Special  No.  1,  and  on  .056  width  as  Special  No.  21 

(6A214)  Em  Size,  .083 

GOTHIC  No.  32  with  GOTHIC  No.  33  (6A236) 
Em  Size,  .1107 

UNIVERSAL  FRACTIONS  (8A362)  Size,  .0553 

VWiVaVzVa'AV^         Jii 

V8'/4='8'2"8='4'e'3=3'5^5^5S'6 

Special  No.  1 

',aV4'.8'/jVBV4'/B               iiJ 

VBVAVeVz^/B^MT/eVsVsVs^/s^/sysVe. 

Upper  Figures  Plain — 1234567890 

1    113  12 

Lower  Figures           —Vz'i'k'k'klW^ 

GOTHIC  No.  25  with  GOTHIC  No.  26  (6A170) 

842433 

Size,  .1383 

842433 

Upper  Figures           —1,^^4,5^6.78,90, 

Va  Vi  %  V2  %  %  Va 

GOTHIC  No.  32A  with  GOTHIC  No.  33A 

Vh  K,  3/e  V^  5,y  3/,  r  a 

(6A238)  Em  Size,  .1107 

Lower  Figures  Plain — 1234567890 

'8'438'2=e=4'8'3^3'5^5^5S            U 

No.  2  with  CONDENSED  TITLE  No.  3  (8Ab) 

GOTHIC  No.  25C  with  GOTHIC  No.  26C  (6A168) 

'a'4^8'k^i^4?al4?iV5^i%''i         li 

Size,  .0588 

Size,  .1245 

Upper  Figures  Plain — 1  :;:u .".i;7 s'.ni 

V's   'U   %  '/i   %  %   % 
'/s  ',4  %  V2  %  %  % 

GOTHIC  No.  32B  with  GOTHIC  No.  338 
(6A240)  Em  Size,  .1107 

i::;{4r.(i7.s!M) 

'    ='»'    i    =8    '  4    '  e    '    J   ■^  3   '    5   '  ■.    5  5   ■■  ■.               ii 

Lower  Figures  Plain — 1  ■_':!4.".i;7.s:hi 

GOTHIC  No.  25A  with  GOTHIC  CONDENSED  No.  2 

"4  =  6'    J=e  =  4'8'3^3's^S=5'>S               H 

i;:Hir><i7s!>o 

(6A164)  Size,  .083 

GOTHIC  No.  32C  with  GOTHIC  No.  33C 

''8"4%'/2%-'/4'/8 

(6A242)  Em  Size,  .083 

'sVi^iViys^'/s 

10  Point 

GOTHIC  No.  258  with  8  Point  GOTHIC 

•I'l^s'-Hnrvv:':^:^:-:-:  i 

No.  1  (lOAl)  Size,  .070 

CONDENSED  No.  2  (6AI66)  Size,  .0968 

LINING  METROMEDIUM  with  LINING 

Upper  Figures  Plain—  1  li  .'?  4  5  t>  7  8!tO 

(Aux.  Position  Casts  on  8  point  body) 

METROTHIN  (bA376)  Size,  .1107 

/  ,■  /  /  /   ■■    ■  /  / 

' -8  '/4  %  '/2  %  %  "8 

'4-2^4 

Lower  Figures           — 1234ril)78!l 

\V/^Wl%''^Vi 

'       d      ^       J       "^d 

Upper  Figures           —  1,2,:!,4  SC.  7  Sit.O, 

/  /  /  /  /  /  /  /  /  / 

LINING  IVIETROMEDIUM  A  with  LINING 

GOTHIC  No.  29C  with  GOTHIC  No.  30C 

METROTHIN  A  (6.::37y)  S\zo,  .1107 

Lower  Figures  Plain-  -1  2  3  4  5  (>  7  8!)  0 

(6A206)  Size,  ,0-lI6 

'a'a-'e'  a^e'^i'a 

(Above  fractions  also  available  on   .0622   width   ;^'^ 

kii 

Special  No.  1) 

GOTHIC  No.  31  with  GOTHIC  No.  32  (bA25b) 

LINING  METROMEDIUM  B  with  LINING 

No.  1  (lOAlO)  Size,  .070 

Size,  .1107 

METROTHIN  B  (cAjSOi  Size,  .0968 

Upper  Figures           —  1  1'  .^  4  .^  11  7  .s  li  n 

Vs%%'''s 

'4'  1  '4 

Lower  Figures  Plain —  1  i;  .'i  4  .">  (!  7  8  H  11 

'5^5^5^5 

'.>'..  '4 

999 


Lining  Faces— 6  to  18  Point 


LINOTYPE    FRACTIONS 


8  Point 

GOTHIC  No.  25  with  GOTHIC  No.  26  (8A266) 
(Casts  on  10  point  body)  Em  Size,  .1798 

Vs  'A  %  ¥2  %  %  % 

Ys  Ya  %  Yi  %  %  Ys 

1    13  15  3  7 

8  4  8  2  8  4  8 

1    13  15  3  7 

8  4  8  7  8  4  8 


10  Point 

GOTHIC  No.  25  with  GOTHIC  No.  26  (10A228) 

y8'yrV8y2%%y8 

12  Point 

BOLD  FACE  No.  9  with  GOTHIC  No.  31  (12A216) 
(Casts  on  13  point  body)  Size,  .1937 

K3%K5%y5K6% 

BOLD  FACE  No.  9A  with  GOTHIC  No.  31A 
(12A222)  Em  Size,  .1937 
(Casts  on  13  point  body) 

Vs  Vi  %  Vo  %  'Va  %  Vz  % 
Vs  %  %  Vz  %  3/4  Va  Vz  % 

y5%%y5y6y6   iii 

VsV^YsV^Ve^Ye      iil 

BOLD  FACE  No.  9B  with  GOTHIC  No.  31B 
(12A220)  Em  Size,  .1522 
(Casts  on  13  point  body) 

Vs  Vi  Vz  %  %  %  Vs  %  V5  %  1/6  % 

Vs  %  Vz  %  %  %  !/3  2/3  Ks  %  '/e  % 


BOLD  FACE  No.  9C  with  GOTHIC  No.  31C 

(12A218)  Em  Size,  .1383 
(Casts  on  13  point  body) 

Vs  Vi  %  /a  %  %  M.  %  Vs  %  Vs  /6  '/e 
!/8  /4  %  '/a  3/4  %  /a  %  Vs  %  %  'A  % 


GOTHIC  No.  25  with  GOTHIC  No.  26  (12A168) 
Size,  .2109 

y2% 

y2% 


:OTHIC  No.  29  with  GOTHIC  No.  30  (12A208) 
(Casts  on  13  point  body)  Size,  .1798 

VqVaVqVzVqW/q 
VqVaWAVbW/q 
V3V3V5V5Y5%V6% 


Vs^sysV^Vs 


GOTHIC  No.  29A  with  GOTHIC  No.  30A  (12A214) 
(Casts  on  13  point  body)  Size,  .1522 

Vq  Va  VzVqWYq  VzVz  ys^/s  VeVe 
VbVaVzVbWYbV2V2VsVsV&^/& 

GOTHIC  No.  29B  with  GOTHIC  No.  30B  (12A212) 
(Casts  on  13  point  body)  Size,  .1383 

Vs  V^  VzVsW/e  V2V3V^Vs%Ve''A 

Vs  v^  VzVsW/s  y3%y5%%  y6% 

GOTHIC  No.  29C  with  GOTHIC  No.  30C  (12A210) 
(Casts  on  13  point  body)  Size,  .1245 

VbVaW/zVbW/bVsVz'AVsV^VsVsV^ 
VbVaVbVzVb^AVbV3V3VsVs^/bV5V6V6 

GOTHIC  No.  31  with  GOTHIC  No.  32  (12A26fe) 
(Casts  on  13  point  body)  Em  Size,  .1937 

y8y4y8y2%y4y8  hi 

1   1  3 
4  2  4 


y8y4y8y2%y4y8 


GOTHIC  No.  31A  with  GOTHIC  No.  32A  (l2A2fe8) 
(Casts  on  13  point  body)  Em  Size,  .1937 

Va  Va  %  Vz  %  y4  Va  Vz  Vz 
Vb  Va  %  Vz  Vs  Va  Vs  Vs  Vs 

1 43 1 53Z 
64  8  2  848 

J_431532: 
84S2  848 

GOTHIC  No.  31B  with  GOTHIC  No.  32B  (12A270) 
(Casts  on  13  point  body)  Em  Size,  .1937 

y8%%y2%y4y8 
y8V4%y2%y4y8 

113  15  3  7 
84  8  2  848 

1  1315  3T 
8  4  8  2  646 

GOTHIC  No.  31C  with  GOTHIC  No.  32C  (12A272) 
(Casts  on  13  point  body)  Em  Size,  .1383 

VbV^VbVbVaVb      h* 

'/8'/4%%3/4y8  iil 

GOTHIC  No.  31D  with  GOTHIC  No.  32D  (12A396) 
(Casts  on  13  point  body)  Em  Size,  .1107 


GOTHIC  No.  32  with  GOTHIC  No.  33  (12A25O) 
(Casts  on  13  point  body)  Size,  .2109 

Vs  VaW/zVs^^AVbVs 
V3V^V^y^VeV^    ikl 

1   1  3 

4  2  4 


VsVsYsysVsVe 


GOTHIC  No.  32A  with  GOTHIC  No.  33A 

(12A252)  (Casts  on  13  point  body)  Size,  .1937 

y8'/4%y2%y4y8 

y8y4y8y2%3^y8 
y3y3y5y5%y5y6% 

Vz  2/3  Vs  %  3/5  %  Ve  % 

GOTHIC  No.  32B  with  GOTHIC  No.  33B  (12A254) 
(Casts  on  13  point  body)  Size,  .1522 

/a  y4%  y2y4y8y3%y5y5y6% 

Ve  '/4%  '/23/4y8  y32/3  Vs'^/s  Ve^/s 

GOTHIC  No.  32C  with  GOTHIC  No.  33C  {12A256) 
(Casts  on  13  point  body)  Size,  .1522 

Va  Va  3/8  V2  3/4  Vs  Vz  %  /s  %  '/e  % 

V8V43/8V23/47/8V32/3y5y5'/6=/6 

LINING  METROMEDIUM  with  LINING 
METROTHIN  (12A416)  Size,  .1937 

y4y2y4 
V4y2y4 


LINING  METROMEDIUM  A  with  LINING 
METROTHIN  A  (12A418)  Size,  .1522 


'/4V23/4 


LINING  METROMEDIUM  B  with  LINING 
METROTHIN  B  (12A420)  Size,  .1522 

V4V23/4 
'/4  Vz  3/4 

LINING  METROMEDIUM  C  with  LINING 
METROTHIN  C  (12A422)  Size,  .1107 

'/4V2y4 
'/4  Vz  Va 


18  Point 

GOTHIC  No.  30  (18A141)  Size,  .1937 

J_  J_  3.  J_  2. 
4    2  4    3    3 


1000 


LINOTYPE  AIDS  FOR  SETTING 
RETAIL  PRICE  DISPLAY  AND 

FOOD  STORE 
TYPOGRAPHY 


FOOD  STORE  LOGOTYPES 

GOTHIC  No.  16 

METROBLACKNo.2   •  GOTHIC  No.  13 

PABST  EXTRA  BOLD  CONDENSED 

VERTICAL  GOTHIC 

NAME  PLATE  LOGOTYPES 


CmiJM.hi'JJ:^ 


MERGENTHALER  LINOTYPE  COMPANY,  BROOKLYN,  N.Y. 

NEW  YORK  CITY,  CHICAGO,  SAN  FRANCISCO,  NEW  ORLEANS.  CANADIAN 
LINOTYPE,  LIMITED.  TORONTO.  Representatives  in  Ihe  Principal  Cities  of  the  World 


12  point  BOLD  FACE  No.  2 


These  logutypes  are  made  as  one-letter  matrices  (12A494)  and  cast  in  the  center  of  a  12  point  slug.  Separate  sorts  matrices  of  individual 
characters  are  also  available.  In  ordering,  give  triangle  number  as  well  as  character  number. 


'Jo.  3 

No.  4 

No.  5 

No.  6 

No.  7 

No.  8 

No.  19 

Lb. 

Lbs. 

Pkg. 

Pkgs. 

Can 

Cans 

For 

14  and  18  point  BOLD  FACE  No.  2 


These  logotypes  are  made  as  one-letter  matrices  (14A222)  (18A365)  and  cast  in  the  center  of  14  and  18  point  slugs.  They  are  also  made  as 
two-letter  matrices  (18A82)  to  be  used  in  conjunction  with  two-letter  display  faces.  Separate  sorts  matrices  of  individual  characters  are 
also  available.  In  ordering,  give  triangle  number  as  well  as  character  number. 


No.  1 

No.  2 

No.  3 

No.  4 

No.  5 

No.  6 

No.  7 

No.  8 

No.  9 

No.  10 

Each 

Doz. 

Lb. 

Lbs. 

Pkg. 

Pkgs. 

Can 

Cans 

Jar 

Ft. 

No.  11 

No.  12 

No.  13 

No.  14 

No.  15 

No.  16 

No.  17 

No.  18 

No.  19 

No.  20 

Qt. 

Bur 

Bars 

Box 

Cakes 

and 

for 

Oz. 

For 

Qts. 

No.  21 

No.  22 

No.  23 

No.  24 

No.  25 

No.  26 

No.  27 

No.  28 

No.  29 

No.  30 

Ea. 

Pts. 

No. 

Bot. 

Ozs. 

No.  1 
Can 

No.  2 
Can 

No.2»4 
Can 

Pairs 

Jars 

No.  31 

No.  Z2 

No.  33 

No.  34 

No.  35 

No.  36 

No.  37 

No.  38 

No.  39 

No.  40 

Jug 

Pair 

Bundles 

Yd. 

Yds. 

Pr. 

Prs. 

Heads 

Boxes 

Roll 

No.  41 

No.  42 

No.  43 

No.  44 

No.  45 

No.  46 

No.  47 

No.  48 

No.  49 

No.  50 

Gal. 

Gals. 

Head 

Bunch 

Bottles 

Bottle 

Pint 

Quart 

Stalk 

Stalks 

No.  51 

No.  52 

No.  S3 

No.  54 

No.  55 

No.  56 

No.  57 

No.  58 

No.  59 

No.  60 

Yard 

Yards 

To 

Loaf 

Peck 

c 

Lb. 

Lb. 

No.  2 
Cans 

Lb. 
Can 

Lb. 
Jar 

No.  61 

No.  62 

No.  63 

No.  64 

No.  65 

No.  66 

No.  67 

No.  68 

No.  69 

No.  70 

Quart 
Jar 

Large 
Pkg. 

Large 
Can 

No.  1 
Cans 

No.  2 1/2 
Cans 

Lbs. 
For 

Bars 
For 

Tall 
Cans 

Lb. 
Box 

Large 
Cans 

No.  71 

No.  72 

No.  73 

No.  74 

No.  75 

No.  76 

No.  77 

No.  78 

No.  79 

No.  80 

Small 
Cans 

Pint 
Jar 

24  Lb. 
Bag 

2  Lb. 
Jar 

Pint 
Bottle 

Quart 
Bottle 

1  Lb. 
Can 

2  Lb. 
Can 

1  Lb. 

Pkg. 

2  Lb. 
Pkg. 

No.  81 

No.  82 

No.  83 

No.  84 

No.  85 

No.  86 

No.  87 

No.  88 

No.  89 

No.  90 

Lb. 
Bag 

Lb. 
Pkgs. 

24>/2  Lb. 
Sack 

8  Oz. 
Can 

And 

Rolls 

Lb. 
Carton 

48  Lb. 

Bag 

Tall 
Can 

Small 
Can 

No.  91 

No.  92 

No.  93 

No.  94 

No.  95 

No.  96 

No.  97 

No.  98 

No.  99 

No.  100 

Lb. 

Pkg. 

Small 
Pkg. 

1  Lb. 
.lar 

No.  li/a 
Cans 

No.  114 
Can 

Cake 

Bll. 

Bun. 

8  Oz.Pkg. 

12  Oz.Pkg 

No.  101 

No.   102 

No.  103 

No.  104 

No.  105 

No.   106 

No.  107 

No.  108 

No.  109 

No.  no 

I  Lb.Pkg. 

3  Lb.Pail 

Tin 

Tins 

Bushel 

1/2  Lb. 

14  Lb. 

Large 

Small 

Case 

No.  in 

No.  112 

No.  113 

No.  118 

No.  119 

No.  120 

No.  121 

No.  122 

No.  123 

No.  125 

Sack 

Loaves 

Tall 

12  Lb. 
Bag 

4  Oz. 

Can 

Pk. 

Doz. 
For 

Glass 

No.  3 
Can 

lbs. 

No.  126 

No.  127 

No.  128 

No.  129 

No.  130 

No.  131 

No.  132 

No.  134 

No.  135 

No.  136 

Large 
Pkgs. 

NO.  10 
(an 

No.  10 
Cans 

Doz. 
Cans 

Lb. 
Sack 

Lb. 
Sacks 

l>g- 

IP 

Size 

Bots. 

No.  137 

No.  138 

No.   143 

No.  144 

No.  14? 

No.  146 

No.  150 

No.  151 

No.  152 

No.  159 

Giant 

Sth 

32  Oz. 
Jar 

16  Oz. 
Jar 

8  0z. 
Jar 

Bag 

Bch. 

Lge. 

Large 
Bottle 

Small 
Pkgs. 

No.  160 

No.  161 

No.  162 

No.  163 

No.  164 

No.  165 

No.  171 

No.  172 

No.  173 

No.  174 

Pints 

Quarts 

Pint 
Can 

Quart 
Can 

No.  175 

No.  3 
Cans 

Ounce 
Bottles 

No.  176 

No.  2 
Tin 

1  Lb. 
Pkgs. 

No.  177 

Tins 

No.l 
Tall  Cans 

No.  187 

Lb. 
Tin 

Med. 
Cans 

Med. 
Can 

No.  1  Tall 
Can 

1002 


18  point  CHELTENHAM  ITALIC 


These  one-letter  lugntypes   (IKA"'.')   cast  in  the  center  i.l  an   1 X  iii.nil  slim.  Seiiarate  scirts  matrices  cm   iinliviiinal  cliaraclers  are  als.,  avail- 
allle.    In  crtlerinK.  Rive  triangle  nninlier  as  well  as  eliaracler  nnnilier. 

No.  1  N".  2  N.>.  .1  .No.  4  No.  .S  No.  6  No.  7  No.  R  No.  9  No.  10 

Each  Doz.  Lb.  Lbs.  Pkg.  Pkgs.  Can  Cam  Jar  Pi. 

No.  11  No.  12  No.  13  No.  M  No.  IS  No.  16  No.  17  No.  18 

Ql.  Bar  Bars  Box  Cakes  and  for  Oz. 


18  point  CHELTENHAM  BOLD  CONDENSED 


These  logotypes  are  made  as  one-letter  inairiic-s  nHA^=^9)  aiul  cast  in  the  center  of  an  IS  imint  sUik.  They  are  also  made  as  two-letter  mat- 
rices (18A--lt  1"  he  nsed  in  c'lnjunclion  witli  twn-Ieller  disiilay  lact-s.  Separate  sorts  matrices  of  indivichial  characters  are  also  availahle. 
In  ordering,  give  triangle  luimhrr  as  well  ;is  charactci    nnniher. 


No. 


Qt. 


No.  53 

To 


yds. 


No.  2 


No.  3  N.i.  4 


No.  5 


No.  6 


No.   7  No.   K 


No.  9  No.  10 


Each  Doz. 


Lb. 


Lbs.  Pkg.  Pkgs.  Can  Cans  Jar 


Pt. 


No.  11  No.  12  No.  13  No.  14  No.  15  No.  16  No.  17  No.  IS  No.  19  No.  20 


Bar 


Bars  Box  Cakes  and  for  Oz. 


For  Qts. 


No.  21  No.  22  No.  23 

Ea.  Pis.  No. 


No.  24  No.  25  No.  30  No.  li^  N...   !4  No.  35 


Bot.  O2 


Jars         Bunches         Yd. 


Yds 


No.  36 

Pr. 


No.  38  No.  39  No.  40  N...  41  N.I.  42  No.  43  \.,.  44  No.  45  No.  4<J  No.  52 

Heads         Boxes  Roll  GaL  Gals.  Head         Bunch        Bottles         Stalk         Yards 


N.I.   1113  \,..   104  \. 


N...  Ill  N...  113 


Loaf  Peck  Rolls  Bu. 


Tin 


Tins  Small  Sack  Tall 


Sm.  Lg. 

N<..  141,  N...   147 

Bag  only 


No.   157 

Bskts. 

No.     16(3 

Bags 


No.   120  N...    124  N...    1  12  .\. 

Pk. 

No.  142 

Pounds 

No.  156 

Bskt. 

N...  1.58 

Bbl. 

N...    167 

Bchs. 

N.I.  169 

In. 

No.  1,H9 

Carton 

No.   191 

head 


\...   134  N...   135  \,i.   I,V,  N.i,   l.iv  N...    14(1  \..    MI 


At 


Up 


Size  Bots. 


to 


in  Pound 


No,  148       No.  149       No.  1^1)       No.  151       No.  153       No.  154       No.  155 


in. 


Ft.  Bch. 


Lge. 


lb. 


Sale  Sk. 


or 

N...  170 

Only 

N.i.  19(1 

Pail 

No.   192 

yd. 

.\i:.    104 

sm. 


SflJUntttp  ASPARAGUS  TIPS  S'13c 
MISTLETOE  PUMPKIN  vr  2  25c 
^>9&/^£a^  FLOUR  ',,,y  1-39 

DUNKIRK'S  GREEN  BEANS      <  „  9c 

f  /iM,r  ,s;;..T.oi<;  ,.(    !.S  p.inil  (,nlln,     \,.    Ir,  -.vitli  ( ,  ,:l  hu    \,'     11 
l^iqiircs.  inul  the  IX  f"inl  Hi'lil  I-'iuc  .Yo.  2  I.fiiolyprs 

Pure  Cane  Granulated  Sugar  1 0  Lh,.  49c 
Fruit,  Powdered,  Brown  Sugar  5  ph^-  25c 


^^^  Tomato  Juice 


qt.]ar    21c 


I   l;,u'   sli.-..;,ui  ,.(   ;,v  /■..oif  Clu-IU-'tlnim  Koid  -.vith  Ihr 
IX  foint  (  h,-ll,  iihinn   llalir  Loilotxfcs 


TANGERINES,  sweet,  juicy       2  d».  29c 
PRUNE  JUICE,  i|s§,  p.  bc  17c 

BORAX  SOAP,  Kirkman's       5  c.k.s  1 6c 

A   Kriri  Miru-uul  ..l    IS  f;nn/  I  hrllrnluim   11, -id  i  ....ri.-il.v.-d  l.iHJOt yfes  -.villi   ;.^  I'i'ilit 
I'ahsl  l.xtta  Hold  (  ./iiii.ii.i.  </  mut  IS  f.'iiit  r.ihst  l-xtia  [laid  Fiiinres 


1004 


GOTHIC  No.  16 


NEW  POTATOES  l  .  15po„„ds23c 

CELERY  HEARTS,  bch.  7c  PRUNE  JUICE,qt.bot.23c 

RYE  BREAD   i::rV;.%\!':XZ   7c  SWISS  CHEESE  ^ZT-ll  19c 

Sliced  Bacon,  smth s  1  ib  pkg  1 5c  Mayonnaise,  Bue star  2  jars  21c 

Dill  Pickles  fuh  pint  jar  2  jars  25c  Corned  Beef,  Fancy  Navei-Lb.  15c 

Grapefruit,      FlnestCalifomia-each      4C      •       Rib    ROaSt,  Choice  Cuts  of  Beef-Lb    23C 


First  Slug  ■»-_ ■^■___  Triangle  Brand,  Seeded  <*  0'C«« 

Second  Slug  or  Seedless,  Today  only         pkgs. 

In  casting  the  second  line,  the  14  point  Gothic  No.  16  letters  and  figures  become  spaces  for  justifying  when  raised  in  the  auxiliary  position. 
The  small  type  is  S  point  Gothic  No.  3. 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
abcdefghijklmnopqrstuvwxyz  1234567890  ($£,.:;'-'?! ) 

14  Point  Gothic  No.  16  (One-Letter)  14An9 


10  point  METROBLACK  No.  2 


LINK  SAUSAGE    %T.'.',/„::iiZVVoZl    15c  Imported  Tea  Bairs    ou;prd:r.'pkg°.'"2o    l'* 

FINE  RIB  ROAST  ./J':.V.l''Voirj':::.o  28c  Rex  Roquefort  Cheese  X^^vl'dT;  tT  37c 

BEST  HAM  SLICES  .^o:ills's%7urVr"c.  10c  Whipping  Cream   '"rsercre'/r^Pr   12c 

OHIO  STEWING  HENS  %7c"o%iu°r  23c  Orange  Pekoe  Tea   Yi^Lrpk^."    2  Pkgs  40c 

Grapefruit  Juice  BrrnTltrrl'rrcarLH  9c  Fresh  Iceberg  Lettuce  ^X^Helds  2  For  9c 

Laundry  Soap   ^pTo^TJ"up"or„rs?.'e   3  ,,,,  lie  De  Luxe  Spinach    ^ZV.^itoTcZ   3  ca„s  21c 

Fifsrslug  CSpfC^      OUR  POPULAR  GREEN  CAN   BLEND      ^      ~        ^^ 

Second  Slug  FOR~PRiPOHrPERCdLATOR~USE 


In  casting  the  second  line,  the  10  point  Metroblack  No.  2  letters  and  figures  become  spaces  for  justifying  when  raised  in  the  auxiliary  posi- 
tion. The  small  type  in  the  left-hand  block  is  4  point  Gothic  No.  16  on  a  5  point  body.  The  small  type  in  the  first  three  lines  at  the  right 
is  Syi  point  Gothic  No.  3.  while  in  the  last  tliree  lines  it  is  ?'j  puiiit  Bold  Face  Nf>.  2,  and  12  point  Bold  Face  No.  2  Logotypes. 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
abcdefghijklmnopqrstuvwxyz  1234567890  ($£,.:;'-'?!) 

10  ruint  .Metroblack  N...  J  lOne-l.ctter)   10Al.=i.i 


14  point  GOTHIC  No.  13 


TOMATO  CATSUP  '^.t''ol.%%%^t^^  8c  CANNED  MILK  t'.^^^A'o^^  3  c^^n^  20c 
POTATO  CHIPS  o^i^oWsTl%%^.M%  7c  PINEAPPLE  n^o  ,^c^"n  9c  ^'^n^o^^^  19c 
Roast  Corn  Toasties  'K'  6c  ^^kT  9c  Star  Mayonnaise  ^:::\l  1 4c  grtfe  27c 
Kennel  Dog  Food  i><,  9c  {2  It  94c  Brown  Bread  with  Raisins  call  15c 
...Slug     |.x-LFRESirBREAD^^"^'  °^^  9c 


WHITE  OR  RYE 


In  casting  the  second  line,  the  14  point  Gothic  No.  13  letters  and  figures  become  spaces  for  justifying  when  raised  in  the  auxiliary  position. 
The  small  type  in  the  two  top  lines  on  either  side  is  ?';  point  Gothic  No.  3.  14  point  Bold  Face  No.  2  Logotypes  are  used  in  the  lower  two 
lines  on  either  side. 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
abcdefghijklmnopqrstuvwxyz  1234567890  ($£,.:;'-'?!) 

14  Point  Gothic  No.  13  (One-Letterl  14A61 


VERTICAL  GOTHIC 


For  food-store-ad  work,  a  valuable  aid  both  to  condensation  and  economical  composition  is 
found  in  the  Vertical  Characters  of  Gothic  Condensed  No.  2.  These  characters  are  cast  hori- 
zontally on  the  slug,  like  this: 

u«*z<A  ^  ^  r-*j  CD  r-^ 

The  slugs  are  cut  to  the  proper  length  and  inserted  between  the  large  figures,  like  this: 

6i29c      4;53c     8;27c 

Complete  alphabets  are  available  in  6-,  10-  and  12-point  sizes.  The  6-  and  10-point  sizes  cast  in 
the  center  of  a  6-point  slug,  the  12-point  in  the  center  of  an  8-point  slug. 

0  I'ljlllt   l',AI-'.!) 

.4Bauauju.c3X tatf^£K^a.^flCtf>h-3>^x>-i^ 

111  I'.iuit  II(iAI.<7) 
— •  a<  — I  S  z:  ^  CL.  ^cc  &OI —  =3»-^>«:>-t~l 

I-'   P.iuit   II2AI=;.!) 

■»:>*:  — I  S  ^  ^  o-  ^oc  e-o»— =D>-^x>-r>^ 


■^  cao  c3  ^  uj  LL.  CO  : 


PABST  EXTRA  BOLD  CONDENSED 


PINEAPPLE,  SLICED 
KENS  CORN  FLAKES  3 


Noodles  2  ige.  pkgs. 
Tuna  Fish  Ige  can  21c 
Oranges  S^^o^-^Oc 
Peaches  2  Ige  cans  23c 


Bacon 

(SLICED) 

15c  lb. 


can  A  ^^  w 
pkgs.  A  mm^i 

Jello,  all  Havs.  pk^.  5c 
Syrup  ptl5c  ct27c 
Tuna  Fish  2  if:  23c 
Sweet  Pickles  14c 


TENDERLOIN  STEAK  16.14c  VERMONT  TURKEYS  16.29c 
Loin  of  Pork,  clioice  tb.  lie  Veal  Cutlets,  milk  fed  Jb.  12c 
Corned  Bee£,  fancy       lb.  15c    Rib  Roast,  best  cuts     lb.  23c 

TOMATO  JUICE  „„„^ 
BARTLETT  PEARS 


LAMB  CHOPS 


6  c.  23c 
18c 

16c 


No.  2  tall  can 

Fine  Rib 
CutSf  No.  1 
Grade,  lb. 


The  first  and  next  to  last  Iil.icks  of  type  .ne  in  .10  imuil  I'.il^t  K\lra 
Bold  Condensed,  with  ,i(i  point  I'alist  Extra  HoUl  advertising 
fiRures,  cast  overhangins  on  the  .Sjiecial  AdvertisiiiR  Fisnre  Mold. 
The  second  slug  is  in  12  point  I'abst  Kxtra  Bold. 

The  .second  block  ol  type  is  in  l.-^  point  I'alist  Kxtra  Hold  Caps 
with  IR  point  I'alist  Extra  Hold  Condensed  lower  case,  and  IS  point 
I'abst  Extra  Hold  fiKures,  cast  overhanKiiiK.  on  the  Regular  .Vdver- 


1.1  shm 


,s  p, 


I  heltenli.iin  Hold 


tisiiiK   FiKurc   Mold,    I  In 
t  Mill. in  .ind  italit . 

The  matter  directly  below  is  in  14  point  Tabst  Extra  Hold  Con- 
densed with  Italic.  The  last  line  is  in  4S  point  I'abst  Extra  Bold 
Coinlensed  No.  1.  cast  overhaiiKiiiK  on  the  Special  .Xdvertising  KiR- 
ure  Mold.  The  small  type  is  in  12  point  I'abst  Extra  Bold  Con- 
denseii  Italic. 


1005 


NAME  PLATES 


The  following  standard  brand  logotypes  will  cast  on  the  slug  size  indicated.  Special  name-plate  designs  will  be  made  to  order  at  a  special 
price,  cost  depending  entirely  upon  the  intricacy  of  design.  In  ordering,  give  triangle  number  as  well  as  character  number. 

CHARACTER  No.220(A350) 

36  I't.  30  Pt.  24  Pt. 

(Qoed  Seae  gotd  Seal  gM  s^ 

CHARACTER  Ho.56(A350) 

36  Pt.  24  Pt.  18  Pt. 

14  Pt.  12  I't.  in  Pt. 

IBpI  mntttP        ?Bf  I  Mtrntt       Sa  Maait 


CHARACTER  No.  221  (A350) 


18  Pt.  14  Pt.  12  Pt.  10  Pt.  8  Pt. 


%e^   j^^   ^1^  ^^ 


CHARACTER  Ho.  15  (^350) 


14  Pt.  IJ  rt.  10  I't.  8  Pt. 


^SCO  ^^CO  ^CO  ^CO  asa>  4m 


asco   (tsco 


CHARACTER  No.230(A350) 

■4  Pt  IX  Pt.  14  Pt  12  Pt.  10  Pt. 


CHAtlCTER  H<i.24t  (A350) 

24  Pt.  12  Pt. 


?exa£g 


CHtRACIEIi  llo.98(A350) 


4  Pt.  12  Pt.  10  Pt.  8  I't. 


y^^l'  ^.^•"  ^•'^•"  ^•"^•"  ^•'^■"  '^' 


12  Pt. 


CHARACTER  No.229(A350) 

36  Pi  J4  rt.  18  Pt. 


CHARACTER  Ho.225(A350) 

12  Pt.  10  Pt,  8  Pt. 


CHARACTER  No.233(A350) 


^'  I't-       (,  Pt. 

KODL       KODL 


CHARACTER  No.234(A350) 


8  Pt.  6  Pt. 

KGDLS      K®LS 


CHARACTER  No.242(A350) 

12  Pt. 


1006 


r?  «'i  '>'K:.-  :  f-^'^/^o  KS,/ V>^  ►.-^^J.Vf  %.  /^^S?-  S''.!?'K>?°'^?^<:^'&^/ 


J/   ^F>    ^<?/-      *     .7/,^  ^^A    Ou  ^O  /        >>.       Oft. 


NevTspaper 
Body  Faces 


LINOTYPE 


Mergenthaler  Linotype 
Company.  Brooklyn.  N.  Y. 


LINOTYPE  EXCELSIOR  with  BOLD  FACE  No.  2 

5  Point  {S^?2)  Lower  case  alphaliet.  ''S  points.  Figures.  .0415  or  .050 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  1234 

*  ?"i  Point  (S'lA-^K)  Lower  case  alphabet.  lOO  points.  Fitjures.  .046  or  .0=^0 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-ma  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-ma  1234 

*  6  Point  (6A.314)  Lower  case  alphabet.  107  points.  Ficiires.  .0484 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  ternns  of  its  esthetic  design?  Why  do  the  pa  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pa  1234 

7  Point  No.  2  (7A1.''6)  Lower  case  alphabet.  115  points.  Fignres,  .0553 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  1234 

*  7  Point  No.  1   (7A1.1«)  Lower  case  alphabet.  118  points,  Fiu'iires,  .055.T 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  1234 

*  7'i  Point  (7!/iA6)  Lower  case  alphabet,  12.1  points.  Ficnres.  .0622 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  W  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  W  1234 

Ti  Point  (7MA2)  Lower  case  alphabet.  125  points.  Fii;iires.  .0622 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  1234 

X  I'riint  No.  2  (8A440)  Lower  case  alphabet.  123  points.  FiKures.  .0622 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  W  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  W  1234 

*  .'•'  Point  No.  1  (8A''24)  Lower  case  alphabet,  126  points.  Figures,  .0622 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  1234 

9  Point  (9A136I  Lower  case  alphabet.  1.1.1  points.  FiKiires.  .0692 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  de  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  de  1234 

*  10  Point  (10A38O)  Lower  case  alphabet.  142  points.  FiKures,  .0692 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  estheti  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  estheti  1234 

11  Point  (11A128)  Lower  case  alphabet.  151  points.  FiKures,  .0761 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  est  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  est  1234 

12  Point  (12A378)  Lower  case  alphal)et.  158  points.  Fip:ures,  .OH.? 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  it  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  it  1234 

14  J'oint  (14A,214)  Lower  case  alphabet.  171  points.  Figure--.  .(i'>(-<i< 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  term  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  term  1234 


Cmc  LINOTYPE"") 

LINOTYPE  EXCELSIOR  with  GOTHIC  No.  3 

5  Point  (5A.'^fi)  Lower  case  alphabet,  95  points.  Fii^ures,  .0415 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  1234 

5'j  Point  (5',1-A?4I  Lower  case  alphabet.  100  points.  Figures,  .046 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-ma  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-ma  1234 

*  r,  Point  (6A.%6)  Lower  case  alphabet.  10.1  points.  FiKures.  .04S4 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace  1234 

7  Point  No.  2  (7A15''^)  Lower  case  alphabet,  115  points.  i-'JKures,  .0553 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  In  terms  of  its  esthetic  design?  Why  do  1234 

5{(  7  point  No.  1   (7Ai56)  Lower  case  alphabet,  ll."^  points.  Fitiures,  .0553 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  In  terms  of  its  esthetic  design?  Why  1234 

8  Point  No.  2  (SA'teS)  Lower  case  alphabet,  123  points.  FiKures,  .0622 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  W  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  In  terms  of  its  esthetic  design?  W  1234 

*  Faces  indicated  by  asterisk  are  available  also  for  Teletypesetter  composition 


1012 


LINOTYPE  EXCELSIOR  with  ITALIC  and  SMALL  CAPS 

5'A  Point  (S'iASO)  I.Dvvet  case  .-ilph.ibel,  100  ix.ints.  l-'iKures.  .046 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-ma  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-ma  vbcd 

6  Point  (6A.^-n)  Lower  case  alphabet,  107  points.  Finures.  .n4.S4 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pa  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pa  vbcd 

7  Point  No.  2  (7A142)  Lower  case  alphabet.  115  points.  Figures.  .0553 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  vbcd 

7  Point  No.  1   (7A14n)  Lower  case  alphabet,  IIR  points.  Fimrres.  ,n';53 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  vbcd 

7'i  Point  (7':.A8)  Lower  case  alphabet,  123  points.  FiKures.  .0622 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  W  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terrns  of  its  esthetic  design?  W  vbcd 


Point  No.  2  IKA444) 


Lower  case  alphabet.  123  points.  FiRiires.  .0^,22 


HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  W  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  W  vbcd 


8  Point  No.  I  (8A432) 


Lower  case  alphabet.  126  points.  FiKures.  .0622 


HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  vbcd 


9  I'oint   (9A134) 


Lower  case  alphabet.  133  points.  FiKnres,  ,0692 


HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  de  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  de  vbcd 


10  Point  (10A386) 


se  alphabet.  142  points.  FiRiires.  .0692 


HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  estheti  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  estheti  vbcd 


11  Point  (11A120) 


Lower  case  alphabet.  151  points.  FiKures.  .0761 


HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  est  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  tervns  of  its  est  vbcd 


14  Point  (14A218) 


Lower  case  alphabet,  171  points.  FiKures,  .0968 


HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  term  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  term  vbcd 


-(""LINOTYPE'"  )- 


LIST  OF  CHARACTERS  AVAILABLE  IN  COMPLETE  FONT  WITH  BOLD  FACE  No  2 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&i^CEabcdefghijklmnopqrstuvwxyzaeoefiflflfffifn 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CEabcdefghijklmnopqrstuvwxyzaeoefiflffffiffl 

1234567890$£,.:;-"?!-|—        .  .  .  ()  (?i>lb*ttll§[]  7c  i/s  V4%  V2¥8%% 
1234567890$£,.:;-"?!-|— .  .  .         0  @n)*ttT[8[]% '/(i'/i%>/i->6%% 

LIST  OF  CHARACTERS  AVAILABLE  IN  COMPLETE  FONT  with  GOTHIC  No,  3 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^OEabcdefghijklmnopqrstuvwxyzaeoefiflffffiffl 
ABCDEFGHIJKLMNOPQRSTUVWXYZA/ECEabcdefghijklmnopqrstuvwxyzaeoefiflffffiffl 

1234567890$£, .;;--.'!- ^        .  .  .  n  Srm*n'i^n7oV8V4%V2%%% 
1234567890$£,.:;-"?! .  .  .        ()@tt>*tt1I§[]%'/8!/4%'/2%%% 

LIST  OF  CHARACTERS  AVAILABLE  IN  COMPLETE  FONT  WITH  ITALIC  and  SMALL  CAPS 
ABCDEFGHIJKLMNOFQRSTUVWXYZ&^GEabcdefghijklmnopqrstuvwxyzasoefiflffffiffl 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&JECE  abcdefghiiklmnopqrstuvwxyzcecefiflffffiffl 

ABCDEFGHIJKLMN0PQRSTtrVWXYZ&,5:CE 

1234567890$£,.:;-"?!-|—       .  .  .  ()  TclbntflSL]  %  Vs  V4%¥2%%% 
1234567890$£,.:;-'-?! ...       ()&m  nnU%VBV4%'^A%%V8 

LIST  OF  CHARACTERS  AVAILABLE  IN  COMPLETE  FONT  WITH  MEMPHIS  BOLD 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE  abcdefghiiklmnopqrstuvwxyzaeoefifliTffiffl 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&/Ea:  abcdefghijklmnopqrsluvwxyzaecefiflHHifll 

1234567890$£,.:;-"?!-|—       . . .  ()C"  lt)*ti:i§l)7c.  V8V4^8':!=!8^,4r8 
1234567890S£,.:;-"?!-|— .  . .       OOlb'ttSSLiyo'/eW/sVaVsW/s 


1013 


LINOTYPE  EXCELSIOR  with  MEMPHIS  BOLD 

6  Point  (6A426)  Lower  case  alphabet.  107  pniiits.  Figures,  .0484 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pa  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pa  1234 

7  Point  {7A190)  Lower  case  alphabet.  118  points.  Figures.  .0553 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  d  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  lype  face  in  terms  of  its  esthetic  design?  Why  d  1234 

7Va  Point  (7^^A-4)  Lower  case  alphabet.  123  points.  Figures,  .0622 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  W  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  lype  face  in  terms  of  its  esthetic  design?  W  1234 

8  Point  (8A502)  Lower  case  alphabet.  126  points.  Figures.  .0622 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  1234 

9  Point  (gAlftfi)  Lower  case  alphabet.  133  points.  Figures.  .0692 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  desi  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  lype  face  in  terms  of  its  esthetic  desi  1234 

If)  Point  (10A46''>)  I-ower  case  alphabet,  143  points.  Figures,  .0^)92 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  estheti  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  lype  face  in  terms  of  its  estheli  1234 

12  Point  (12A488)  Lower  case  alph.lbet.  15S  points.  Figures.  .083 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  it  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  it  1234 

14  Point  (14A252)  Lower  case  alphabet.  171  points.  Fisures.  .0968 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  term  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  lype  face  in  term  1234 

LIST  OF  CHARACTERS  AVAILABLE   IN  COMPLETE  FONT  with  MEMPHIS  BOLD 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 

abcdefghijklmnopqrstuvwxyzseoefiflffffiffl  1234567890  $£,.:;-"?!- 

abcdefghijklmnopqrstuvwxyzaecefiflffffiffl  1234567890  $£,.:;-"?!- 

. .  .()@ib*tJii§[]%  y8y4%V2%%% 
. . .     ( )@m  •  ttii§[]  %  Vb  Va  %  Vz  ys  %  % 


-("  LINQTYPE'"'> 


LIST  OF  CHARACTERS  AVAILABLE  IN  COMPLETE  FONT  OF  TEXTYPE  with  BOLD  FACE  No  2 

abcdefghijklmnopqrstuvwxyz&^ge 
abcdefghijklmnopqrstuvwxyz&;e(e 

abcdefghijklmnopqrstuvwxyzaeoefififfffiffl  1234567890  $£,.:;-"?!-!— 
abcdefghijklmnopqrstuvwxyzseoefiflflfffiffl  1234567890  $£,.:;-"?!-  — 

. . .  ()@ib*tt*i§[]  %y8y4%y2%%y8 
. . .     ()@tft*ttTi§[]  %y8y4%y2%%y8 

LIST  OF  CHARACTERS  AVAILABLE  IN  COMPLETE  FONT  OF  TEXTYPE  WITH  ITALIC  AND  SMALL  CAPS 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 
ABCDEFGHUKLMNOPQRSTVVWXYZ&JECE 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 

abcdefghijklmnopqrstuvwxyzEeoefiflffffiffl  1234567890  $£,.:;-"?!-|_ 
abcdejghiiklmnopqrstuvwxyzceoefiflifffiffl  1234567890  $£,.:;-"?! 

. . .  ()@ibntii§[]%  y8y4%y2%%y8 
. . .    ()@m  imu %  y8y4%y2%%y8 


1014 


LINOTYPE  TEXTYPE  with  BOLD  FACE  No.  2 

6  Point  (f>A2'M)  l.nwer  case  ;iliihabct,  102  pcints.  l-'iKurcs.  .MK4 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-m  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-m  1234 

7  Point  (7Al.''n)  Lower  case  alphabet.  110  points.  Figures.  .Ms-t 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  1234 

8  Point  (8A3'J-1)  Lower  case  alphabet.  115  points.  FiKures,  .OSn.1 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  d  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  d  1234 

9  Point  (9A11S)  Lower  case  alphabet,  125  points.  FiKures,  .0622 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  1234 

10  Point  {I0A322)  Lower  case  alphabet.  136  points.  Figures.  .06<)2 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  d  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  d  1234 

12  Point  (12A310)  Lower  case  alphabet.  153  points.  Figures.  .083 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  e  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  e  1234 

14  Point  (14A194)  Lower  case  alphabet.  167  points.  Figures,  .0968 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  1234 


C»..c  LINOTYPE" ») 

LINOTYPE  TEXTYPE  with  ITALIC  and  SMALL  CAPS 

6  Point  (6A304I  Lower  case  alphabet.  102  points.  Figures,  .0484 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-m  1234 
HOW  IS  ONE  TO  ASSESS  and  evahiate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-m  vbcd 

7  Point  (7A13.2)  Lower  case  alphabet,  110  points.  Figures.  .0484 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  1234 
HOW  IS  ONE  TO  ASSESS  and  eimliiate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  vbcd 

8  Point  (SAlQCi)  Lower  case  alphabet.  115  points.  Figures.  .0?53 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  d  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  d  vbcd 

9  Point  (9A12J)  Lower  case  alphabet.  125  points.  Figures.  .0622 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  vbcd 

1(1  Point  (lOA.5-4)  Lower  case  alphabet,  136  points.  Figures,  .0692 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  d  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  d  vbcd 

12  Point  (12A-^-4)  Lower  case  alphabet.  153  points.  Figures.  .083 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  e  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  e  vbcd 

14  Point  rl4A220)  Lower  case  alphabet.  167  points.  Figures.  .09fi8 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  tervfis  vbcd 

18  Point.  'I'w.i-Letter  (18A.3(1)  Lower  case  alphabet.  2\l>  points.  Figures,  .1107 

HOW  IS  ONE  to  assess  and  evaluate  a  type  face  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  1234 


1015 


LINOTYPE  IONIC  No.  5  with  BOLD  FACE  No.  2 

5  Point  (5A24)  Lower  case  alphabet.  S-t  points.  Figures.  .0415 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  In  the  art  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  art  1234 

:{c  S';  I'oint  (5''iA4J>  Lower  case  alphabet.  94  points.  Figures.  .045  and  .050 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-maker  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-maker  1234 

S'/i  Point  Ionic  No.  ,=1  with  Gothic  No.  16  (5'/iA64)  Lower  case  alphabet,  94  points.  Figures.  .0.50 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-maker  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-maker  1234 

fi  Point  (6A28S)  Lower  case  ali>hahet.  104  points.  Figures.  .0484 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  Its  esthetic  design?  Why  do  the  pace  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace  1234 

h' J  Point  (6'vA-'  Lower  case  alphaliet.  110  points.  Figures,  .0553 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  In  terms  of  its  esthetic  design?  Why  do  th  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  th  1234 

6H  Point  (6MA2)  Lower  case  alphabet.  107  points.  Figures,  .055.3 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  1234 

*  7  I'oint  (7A12JI  Lower  case  alphabet.  lUp.unts.  Figures.  .055.? 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  d  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  d  1234 

ajt  y'A  Point  (7|'jA2)  Lower  case  alphaliet.  121  points.  Figures.  .0622 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  1234 

*  .'f  Point  m/\M<2l  Lower  ca.-se  alphabet.  127  points.  Fieures.  .0622 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  1234 

*  9  Point  (9An2)  Lower  case  alphabet,  139  points.  Fisures.  .0692 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  1234 

in  I'oint   MOA  C'Ji  Lower  case  alphabet.  146  points.   Figures,  .07^)1 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esth  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esth  1234 

12  I'.iint   I12A1''K1  Lower  case  ali>habet.  1  6,i  points.  I"ii;nres.  .OM 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  1234 

LIST  OF  CHARACTERS  AVAILABLE  IN  COMPLETE  FONT  with  BOLD  FACE  No.  2 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 
ABCDEFGHIJKLMNGPQRSTUVWXYZ&iECE 

abcdefghijklmnopqrstuvwxyzseoefiflfffRffl  1234567890  $£,.:;-"?!-!— 
abcdefghijklmnopqrstuvwxyzaeoefifllfffiffl  1234567890  $£,.:;-"?!-  — 

...  0  @tb*m§  []  %  Vs  'A  %  V2  %  %  % 

. . .     ()@ffi*ttii§[]%  VsV4%y2%%% 


Cr»,rHNDTYPE"'">) 

LINOTYPE  IONIC  No.  5  with  GOTHIC  No.  16 

SVi  Point  (5ViA64)  Lower  case  alphabet.  94  points.  Figures.  .050 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-maker  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-maker  1234 

LIST  OF  CHARACTERS  AVAILABLE  IN  COMPLETE  FONT  WITH  ROMAN  and  GOTHIC  No   16 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&iECE  abcdetghijklmnopqrstuvwxyzaeoefiflfffflffl 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&yCOE  abcdefghijklmnopqrstuvwxyzseoefiflffffiffl 

1234567890$£.. :;-••?!-!—        .  .  .  0  @  tt) 't  t1l§[]9c  Vs 'A  %  Va %  % '/s 
1234567890$£,.:;-"?!-|— .  - .        OStB'ttUKP/oVa'AVsVaVsS/iVa 


'■■  Faces  indicated  by  asterislc  are  available  also  for  Teletypesetter  composition 


1016 


LINOTYPE  IONIC  No.  5  with  ITALIC  and  SMALL  CAPS 

5  Point  (5A2fi)  Lower  case  alpliabet.  .X4  |),,ims.  Kiijures,  .041? 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  art  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  art  vbcd 

5'..  Point  (5',,A-l-tl  Lower  case  alplialiet.  94  points.  KiRures,  .046 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  In  terms  of  Its  esthetic  design?  Why  do  the  pace-maker  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-maker  vbcd 

6  Point  (6A302)  Lower  case  alplialiet.  104  iioints.  Figures,  .04X4 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  In  terms  of  Its  esthetic  design?  Why  do  the  pace  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace  vbcd 

6'/i  Point  (6!/iA'il  Lower  case  alphabet.  110  points.  l-'ii!ures.  .O.s.S.I 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  th  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  th  vbcd 

6 'm   Point  U)i4A4)  Lower  case  alphatiet .  107  points.  I-'iyures.  .O.s.s.t 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  vbcd 


7  Point  (7A12f.) 


Lower  case  alphabet.  114  points.  Figures.  .O.'^.^.^ 


HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  vbcd 

7'i  Point  f7'./^41  Lower  case  alphatiet.  121  points.  FiHures.  .'}f]22 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  vbcd 

8  Point  (8A3S4)  Lower  case  alphabet.  127  jioints.  FiKures,  .0622 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  vbcd 

9  Pciint  lyAlIfi)  Lower  case  alphabet.  l.V)  points,  FiKures.  .0602 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  vbcd 

10  point    (lllA.iOlll  Lower  case  alphabet.  146  points.   Fieures.    ,0761 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esth  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esth  vbcd 

12  I'liiiit  I  IJA.^-'i'  Lower  case  alphabet.  16.^  points.  Figures.  .()H^ 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  vbcd 

LIST  OF  CHARACTERS  AVAILABLE  IN  COMPLETE  FONT  WITH  ITALIC  ArjD  SMALL  CAPS 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&iEGE 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^GE 

abcdefghijklmnopqrstuvwxyzascefiflfffRffl  1234567890  $£,.:;-"?! 

abcdefghijklmiiopqrstuvwxyzceoefiflffffiffl  1234567890  $£,.:;-"?! 

...()@tb*-m§[]%  1/8  1/4% 

...      ()@m  tn§[]% 


1017 


LINOTYPE  OPTICON  with  BOLD  FACE  No.  2 

SVi  Point  (5'-^A60)  Lower  case  al|)hahet,  102  pnints.  l-'igures.  .0AM 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-  1234 

6  Point  (6A42n)  Lower  case  alphabet.  100  p.iints.  FiKures.  .0553 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  1234 

7  Point  (7A166)  Lower  case  alphabet.  119  points.  Figures.  .059 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  1234 

7''3  Point  (7''1-A10)  Lower  case  alphabet.  125  points.  Figures.  .0622 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  1234 

8  Point  (SA482)  Lower  case  alphabet,  130  points.  Figures.  .061)2 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  desig  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  desig  1234 

9  Point  (9Alfi2)  Lower  case  alphabet,  134  points.  Figures,  .0692 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  de  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  de  1234 

10  Toiiit  (10iA*'70)  Lower  case  alphabet.  144  points.  KiKiires,  .0761 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthe  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthe  1234 

11  Point  (11A13S)  In  Process  of  Maiuifacture 

12  Point  (12A474)  Lower  case  alphabet,  160  points.  Figures,  .083 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  it  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  it  1234 

LIST  OF  CHARACTERS  AVAILABLE  IN  COMPLETE  FONT  with  BOLD  FACE  No.  2 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&7ECE 

abcdefghijklmnopqrstuvwxyzaeoefiflffffiffl  1234567890  $£,.  :;-"?!-!— 
abcdefghijklmnopqrstuvwxyzaeoefiflffffiffl  1234567890  $£,.:;-"?!- — 

.  .  .  ( )  ff?  tb  *  1 1 II  §  []  %  1/8  V4  %  1/2  %  %  % 

. . .     ()@ ih*t^Ti§n%  Vs  1/4  %  1/2  %  %  Vs 


-(p.  c LINOTYPE"   ^ 


LINOTYPE  OPTICON  with  ITALIC  and  SMALL  CAPS 

6  Point  {6A424(  Lower  case  alphabet,  109  points.  Figures,  .0553 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  vbcd 

7  Point  (7A180)  In  Process  of  Manufacture 

7'A  Point  (7J4A16)  Lower  case  alphabet,  125  points.  Figures,  .0622 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  1234 

8  Point  (8A4961  Lower  case  alpbabet,  130  points.  FiKures.  .0692 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  desig  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  desig  vbcd 

10  Point  (10A468)  Lower  case  alphabet.  144  points.  FiKures.  .0761 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthe  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthe  vbcd 

U  Point  (11A134)   In  Process  of  Manufacture 

LIST  OF  CHARACTERS  AVAILABLE  IN  COMPLETE  FONT  WITH  ITALIC  AND  SMALL  CAPS 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&MCE 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&.a:CE 

abcdefghijklmnopqrstuvwxyzaeoefififfffiffl  1234567890  $£,.:  ;-''?!-!— 
ahcdefghijklmnopqrstuvwxyzaeoefifljfffiffl  1234567890  $£,.:;-"? ! 

.  .  .()@lb*t±1I§n%  V8l/4%l/2%3^% 
()@m     fif§[]%V8V4  %  V2  %  3/4  Vs 


1018 


LINOTYPE  PARAGON  with  PARAGON  BOLD 

5J^  Point  (554A66)  Lower  case  alphabet,  101  points.  Figures,  .050 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-m  1234 
HOW  IS  ONE  TO  ASSESS  .md  evahiate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  tlic  pace-ni  1234 

*  fi  Point  (6A388)  Lower  case  alphabet.  108  points.  Kmures.  .055.1 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  tvpe  face  in  terms  of  its  e.sthetic  design?  Why  do  the  p  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  p  1234 

*  7  Point  (7A162)  Lower  case  alphabet.  120  points.  l-iKures.  .059 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  ostlietic  design?  Wliy  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  1234 

T/i  Point  (7'/;A18)  Lower  case  alphabet.  124  points.  Figures,  .0622 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  1234 

S  Point  (8A462)  Lower  case  alphabet,  129  points.  Figures.  .0622 

HOW  IS  ONE  TO  ASSESS  and  evctltiate  a  type  face  in  terms  of  its  esthestic  desig  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthestic  desig  1234 

9  Point  (9A158)  Lower  case  alphabet,  136  points.  Figures.  .0692 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  d  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  d  1234 

10  Point   (inA450)  Lower  case  alphabet.  145  points.  Figures.  .0761 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esth  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esth  1234 

LIST  OF  CHARACTERS  AVAILABLE  IN  COMPLETE  FONT  with  PARAGON  BOLD 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&.^CE 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 

abcdefghijklmnopqrstuvwxyzaeoefiflffffiffl  1234567890  $£,.:;-"?  !-|— 
abcdefghijklmnopqrstuvwxyzsecefiflffffiffl  1234567890  $£,.:;-"?!- — 

.  .  .()@lt)*t$11§[]%  VS  1/4%  1/2%%% 


(.01  LINOTYPE"") 

LINOTYPE  PARAGON  with  ITALIC  and  SMALL  CAPS 

6  Point  (6A390)  Lower  case  alphabet.  108  points.  FiRures,  .0553 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Wliy  do  tlie  p  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  p  vbcd 

7  Point  (7A1'j4)  Lower  case  alphabet.  120  points.  FiRiires.  .0-9 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Wh  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Wh  vbcd 

TA  Point  (7K-A20)  Lower  case  alphabet.  124  points.  Figures,  .0622 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  vbcd 

8  Point  (8A464)  Lower  case  alphabet.  129  points.  Figures.  .0622 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  desig  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  desig  vbcd 

9  Point  (9AL56)  Lower  case  alphabet,  136  points.  Fisures.  .0692 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  d  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  d  vbcd 

10  Point  (10A448)  Lower  case  alphabet.  146  points.  Figures.  .0761 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esth  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esth  vbcd 

LIST  OF  CHARACTERS  AVAILABLE  IN  COMPLETE  FONT  WITH  ITALIC  AND  SMALL  CAPS 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&^CE 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&.€:CE 

abcdefghijklmnopqrstuvwxyzaeoefiflflfffiffl  1234567890  $£,.:;-"?!-!— 
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NEWSPAPER  BODY  FACES 
In  Combination  with  Black  Face 


4  Point  Centtiry  Kxpaiided  with  Gothic  No.  Ifi  (4A2)  Lower  case  alphabet,  7S  points.  Fienrcs.  .0484 
HOW  IS  ONE  TO  A.S.SE.SS  and  evaluate  a  type  face  in  terms  of  its  esthetic  desigrn?  Wliy  do  ttie  pace-malters  in  the  art  of  println  12.14 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of  printin   1234 

4'4  T'oint  No.  f,  with  Gothic  No.  16  (43;(A-1  I,ower  case  alphahet.  76  points.  Figures.  .O.S.';,? 

HOW  IS  ONE  TO  ASSE.SS  and  evaluate  a  type  face  in  terms  nf  its  esthetic  (lesifjn?  Why  do  the  pace  makers  in  the  art  of  pri  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of  pri  1234 

5  Point  No.  10  with  Gothic  No.  4  (5A2)  Lower  case  alphahet.  76  points.  Figures.  .0415 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  Its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of  prinli  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-malters  in  the  art  of  printi  1234 

5  Point  No.  18  with  Antique  Black  No.  1  (5A181  Lower  case  alphabet,  82  points.  Figures,  . 0,553 

HOW  IS  ONE  TO  A.SSE.SS  and  evaUiate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  In  terms  of  Its  estlietic  design?  Why  do  the  pace-makers  In  the  1234 

5  Point  Ionic  No,  5  with  Bold  Face  No.  2  (5A24)  Lower  case  alphabet.  84  points.  Figures.  .0415 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  art  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  (ace  In  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  art  1234 

5  Point  Excelsior  with  Bold  p~ace  No.  2  (5A32)  Lower  case  alphabet.  95  points.  Figures,  .0415  or  .050 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-nnakers  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  1234 

5  Point  E.xcelsior  with  t;.)thic  No.  3  (5A.^6)  Lower  case  alphabet.  95  points.  Figures.  .0415 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  1234 

5';  Point  No.  1  with  riareiidon  No.  1   {5'/^A8)  Lower  case  alphahet,  91  points.  Figures,  .046 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  tvpe  face  in  tornis  of  its  esthetic  design?  Why  do  the  pace-makers  in  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design !  Why  do  the  pace-makers  in  1234 

S'.i  Point  No.  2-B  with  Bold  Face  No.  2-B  (5|.iA36)  Lower  case  alphahet,  94  points.  Figures.  .050 

HOW  IS  ONE  TO  ASSKSS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-maker  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-maker  1234 

5'i  Point  Ionic  No.  5  with  Bold  Face  No.  2  (5''SA42)  Lower  case  alphahet.  94  points.  Figures.  .046  or  .050 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-maker  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-maker  1234 

5',;.   Point  Ionic  No.  5  with  fjofhic  No.  16  (5'<A64)  Lower  case  alphabet.  94  points.  Figures.  .050 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-maker  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-maker  1234 

SVi  Point  No.  4  with  Bold  Face  No.  2  Condensed  (5'/2A32)  Lower  case  alphabet.  95  points.  Figures.  .0553 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-maker  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-maker  1234 

Stj  Point  Excelsior  with  Bold  Face  No.  2  (5!  jA48)  Lower  case  alphabet.  100  points.  Figures.  .046  or  .050 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-ma  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-ma  1234 

5L   Point  Excelsior  with  fiothic  No.  .1   (5'/A54)  Lower  case  alphabet,  inn  i)oiiUs.  Figures.  .046 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-ma  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-ma  1234 

S'A  Point  No.  2  with  Bold  Face  No.  2  (5i'iA2}  Lower  case  alphabet.  101  points.  Figures.  .050 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Whv  do  the  pace-  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-  1334 

5'-;  Point  Paragon  with  Paragon  Bold  (5^'iA66)  Lower  case  alphabet.  101  points.  Figures.  .050 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-m  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  estlietic  design?  Why  do  the  pace-ni  1234 

S' 1  Point  Opticon  with  Bold  Face  No.  2  (5LA601  Lower  case  alphabet.  102  points.  Figures,  .0484 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-  1234 

6  Point  No.  12  with  (jothic  No.  S  (6A32)  Lower  case  alphabet.  88  points.  Figures.  .0553 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  In  terms  of  its  esthetic  design?  Why  do  the  pace-makers  in  the  1234 

6  Point  No.  10  with  Gothic  No.  4  (6A/'6)  Lower  case  alphabet.  91  points.  Figures,  .0484 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  ?  Why  do  the  pace-makers  i  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  In  terms  of  its  esthetic  design?  Why  do  the  pace-makers  i  1234 

6  Point  Century  l-^xpanded  with  Cenliny  BoUl  (6A94)  Lower  case  alphabet.  95  points.   Figures.  .0484 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  ?  Why  do  the  pace-make  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-make  1234 

6  Point  De  Vinne  with  Antique  No.  3  (6A28)  Lower  case  alphabet.  98  points.  Figures.  .056 

HOW  IS  ONE  TO  ASSESS  and  evahiate  a  type  face  in  terms  of  its  esthetic  design?  Whv  do  the  pace-rna  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-ma  1234 

6  Point  Century  Expanded  with  Cheltenham  Bold  (6A172)  Lower  case  alphabet.  99  points.  Figures.    0553 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  ?  Why  do  the  pace-  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-  1234 

6  Point  Textype  with  Bold  Face  No.  2  (6A296I  Lower  case  alphabet.  102  points.  Figures,  .0484 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Whv  do  the  pace-m  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace-m  1234 


1057 


NEWSPAPER  BODY  FACES 
In  Combination  with  Black  Face 


6  Point  Kxcelsirir  with  Gothic  No.  3  (6A366)  Lower  case  alphabet.  103  points.  Figures.  .0484 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace  1234 

6  Point  Ionic  Xo.  5  «  ith  Bold  Face  No.  2  (6A-SSI  Lower  case  alphabet.  104  points.  Figitres.  .0484 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pace  1234 

6  Point  No.  1  with  Bold  Face  No.  2  (6A12)  Lower  case  alphabet.  105  points.  Figures,  .0484 

HOAV  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pa  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  fnce  in  terms  of  its  esthetic  design?  Why  do  the  pa  1234 

f,  Point  Fxcelsior  with  Bold  Face  No.  2  (6A314'  Lower  case  alphabet.  107  points.  Figures,  .04S4 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pa  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pa  1234 

6  Point  No.  2  with  Condensed  Title  No.  3  (6A11'SI  Lower  case  alphabet.  107  points.  Figures,  .050 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  Its  esthetic  design?  Why  do  the  1234 

6  Point  No.  2  with  Bold  Face  No.  2  (6A186)  Lower  case  alphabet,  107  points.  Figures,  .056 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  tvpe  face  in  terms  of  its  esthetic  design?  Why  do  the  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  1234 

fi  Point  F.xcel-iinr  with  Memphis  Bnld  (r)A4Jf.i  Lower  case  alphabet.  1"?  points.  Figures.  .04X4 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pa  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  pa  1234 

6  Point  No.  2  with  Gothic  No.  3  (6A6)  Lower  case  alphabet,  108  points.  Figures,  .O.W 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  1234 

6  Point  Paragon  with  Paragon  Bold  (6A388)  Lower  case  alphabet.  108  points.  Figures.  .OS53 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  p  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  p  1234 

6  Point  No.  8  with  Bold  Face  No.  2  (6A122)  Lower  case  alphabet.  109  points.  Figures.  .0484 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  AVhy  do  the  1234 

6  Point  Opticon  with  Bold  Face  No.  2  (6A420)  Lower  case  alphabet,  109  points.  Figures,  .0553 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  1234 

6  Point  No.  2  with  .\nti(|ue  No.  2  '6A501  Lower  case  alphabet.  112  pnints.  Figures,  .056 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  In  terms  of  its  esthetic  desig°n?  Why  do  1234 

6  Point  No.  2  with  Bold  Face  No.  I  (6A70)  Lower  case  alph.abet.  116  points.  Figures,  .056 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Whv  d  1234 
HOW  IS  ONE  TO  ASSKSS  and  evaluate  a  type  face  In  term»  of  Its  eetthetlo  design?  Why  d  1234 

6VS  Point  Ionic  No.  5  with  Bold  Face  No.  2  (6''iA2l  Lower  case  alphabet,  110  points.  Figures,  .0553 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  In  terms  of  its  esthetic  design?  Why  do  th  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  fp'-e  in  terms  of  its  esthetic  design?  Why  do  th  1234 


ih  li.dd  Face  No 


L<i\\er  case  alphabet.  107  points.  Figures,  .0553 


HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  1234 

7  Point  No.  1  with  Bold  Face  No.  2  (7A90)  Lower  case  alphabet,  107  points.  Figures,  .059 

HOW  IS  OXE  TO  ASSESS  and  evaluate  a  tvpe  face  in  terms  of  its  esthetic  design  ?  Whv  do  1 1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  1 1234 

7  Point  No.  1  with  Gothic  No.  4  (7A4JI  Lower  case  alphabet,  108  points.  Figures.  .059 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  desiRn?  Why  do  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  1234 

7  Point  Textype  with  Bold  Face  No.  2  (7A130)  Lower  case  alphabet,  110  points.  Figures,  .0484 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the  1234 


Point  Century  Expanded  with  Century  Bold  (7A80) 


Lower  case  alphabet,  110  points.  Figures.  .0553 


HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  ?  Why  do  t  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  t  1234 


7  Point  Ionic  No.  5  with  Bold  Face  No.  2  (7A122 


Lower  case  alphabet,  114  points.  Figures,  .0553 


HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  d  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  d  1234 

7  Point  No.  2  with  Bold  Face  No.  2  (7A86I  Lower  case  alphabet,  114  points.  Figures,  .0553 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  d  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  d  1234 


1058 


NEWSPAPER  BODY  FACES 
In  Combination  with  Black  Face 


7  Point  No.  2  with  CondeiiFiecI  Title  No.  3  (7Ar>2)  l.nwer  i;ivc  ;.li)h;Lbet,  114  points.  Figures.  .0.=;53 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  d  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  desiiErn?  Why  d  1234 

7  Point  No.  2  E.xcelsior  with  Bold  Face  No,  2  (7A1.16I  Lower  case  alpliabet.  115  points.  Figures,  .059,3 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  1234 

7  I'.iint  \.i.  J  F,x-,i-lsi,.r  uilli  C.ithic  No.  3  (7A151*)  l,..wer  c.isc  .ilphal.et,  115  poinls.   Figures,  .11  =  ^3 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  In  terms  of  its  esthetic  design?  Why  do  1234 

7  Point  No,  2  with  Gothic  No,  3  (7A30)  Lower  case  alphabet.  116  points,  FiKures.  .056 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  1234 


7  Point  No.  1  Excckior  with  Hold  Face  No.  2  (7A138) 


alphabet,  IIX  points.  FiKures,  .0553 


HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  1234 


7  Point  No.  1  Excelsior  with  Gothic  No,  3  (7A156) 


Lower  case  alphabet.  118  points.  FiKures.  .0553 


HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  1234 

7  Point  Excelsior  with  Meniiibis  Bold   (7AI9n)  Lower  ca-c  .ilpli.ibcl .   I  1  .H  points.  Figures,  .11x^3 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  1234 

7  Point  No.  2  with  Bold  Face  No,  1  (7A3)  Lower  case  alphabet.  118  points.  Figures.  .063 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Wh  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  desig-n?  Wh  1234 


7  Point  Opti 


ith  Bold  F.-Lce  No.  2  (7Al'jr,l 


Lo 


sf.  alpli.ibct.  119  points.  Fiunres.  .1)59 


HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  1234 

7  Point  Parason  with  Paragon  Bold  (7A162)  I^ower  case  alphabet.  120  points.  Figures.  .059 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  12.34 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  1234 


with  Hold  Face  No.  2  (7'iA2) 


Lower  case  alphabet,  121  points.  FiKiir 


HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  1234 


7"<-  Point  Excelsior  with  Bold  Face  No,  2  (7'{A6) 


Lower  case  alphabet.  123  points.  Figures.  .0622 


HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  W  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  W  1234 


7';   Point  l-^xcclsin 


ith  Mempllis  Bold   (7'..A24) 


alpha 


HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  W  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  W  1234 


Point  Paragon  with  Paragon  Bold  (7!;.A18) 


\er  case  .alphabet,  124  points.  Figures,  ,062 


HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  1234 


int  Opii, 


ith  Bold  Face  No.  2  (7'<A10) 


Lower  ca^o  alphabet,  125  iioints.  Figures,  ,0622 


HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  1234 

-'4  Point  Excelsior  with  Bold  Face  No.  2  i7UA2)  Lower  case  alphabet,  125  poiiiis.  Fiiinre-.  A«,22 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  1234 

8  Point  No,  19  with  Title  No,  1  (SA'IO)  Lower  case  alphabet.  111  points.  Figures.  ,056 

HOW  IS  ONE  TO  ASS]']SS  and  evaluate  a  tyi)e  face  in  terms  of  its  estlictic  design?  Why  do  t  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  t  1234 

8  Point  De  Vinne  with  Antique  No.  3  (8A164)  Lower  case  alphabet,  115  points.  Figures.  .1)59 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetio  design  ,'  Wliy  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  1234 

.Mso  availal.)le  on  7  point  aligiiinettt  (8A16) 


8  Point  Texlype  with  P.oM  Face  No,  2  (8A394) 


ver  case  alphabet.  115  points.  Figure 


HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  d  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  d  1234 


1059 


NEWSPAPER  BODY  FACES 
In  Combination  with  Black  Face 

8  Point  No.  1  with  Bold  Face  No.  2  (SAl'M)  Lower  case  alphabet.  116  points.  Figures.  .059 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  tvpe  face  in  terms  of  its  estlietic  desisrn?  Wliv  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  1234 

8  Point  No.  2  with  Gothic  No.  3  (SA70)  Lower  case  alphabet.  117  points.  Figures,  .059 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  W  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  In  terms  of  Its  esthetic  design?  W  1234 

8  Point  No.  2  with  Condensed  Title  No.  3  (8A6)  Lower  case  alphabet.  118  points.  Figures.  .059 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  1234 

8  Point  Century  Expanded  with  C  enturv  Rnld  (SA,122)  Lower  case  alphabet.  110  poinf;.  Figures.  .0622 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  ?  W  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  W  1234 

8  Point  Century  Expanded  with  Cheltenham  Bold  (8A254)  Lower  case  alphabet.  121  points.  Figures,  .0692 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  1234 

8  Point  No.  2  with  Bold  Face  No.  1   (8ASI  Lower  case  alphabet.  133  points.  Figures.  .070 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic- design?  1234 

8  Point  No.  1  with  Title  No.  2  (8A192)  Lower  case  alphabet,  122  points.  Figures.  .069 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  tyjte  face  in  t(M-ms  of  its  o.sthetif  design?  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  1234 

8  I'(jint  No.  3  Excelsior  with  Bold  Face  No.  2  (8A440)  Lower  case  alphabet.  123  points.  Figures,  .0622 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  W  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  W  1234 

8  r..int  No.  J  Excelsior  witli  nothic  .No.  .1  (8A468)  Lower  ca.se  alphabet.  133  points.  Fisiires,  .0623 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  W  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  W  1234 

8  Point  No.  1  Excelsior  with  Bold  Face  No.  2  (8A424)  Lower  case  alphabet.  126  points.  Figures,  .0622 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  1234 

8  Point  Excelsior  with  Memphis  Bold  (8A5021  Lower  case  alphabet,  136  points.  Figures.  .0622 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  1234 

.s  Point  Ionic  No.  ,=;  with  Bold  Face  No.  3  (8A3S3)  Lower  case  alphabet.  127  points.  Figures.  .0623 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  1234 

8  Point  Paragon  with  Paragon  Bold  (8A462)  Lower  case  alphabet.  129  points.  Figures,  .0622 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  desig  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  desig  1234 

S  Point  Opticon  with  Bold  Face  No.  2  (SA483)  Lower  case  alphabet.  130  points.  Figures.  .0693 

HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  desig  1234 
HOW  IS  ONE  TO  ASSESS  and  evaluate  a  type  face  in  terms  of  its  esthetic  desig  1234 


-("'°  LINOTYPE"")- 


LIST   OF    CHARACTERS   AVAILABLE    IN    TWO-LETTER    FONTS 
WITH    BLACK    FACE 

ABCDEFGHIJKI,MNOPQRSTUVWXYZ&.ECE 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&i^GE 

abcdefghijklmnopqrstuvwxyz 

abcdefghijklmnopqrstuvwxyz 
1234567890aecefiflffffiffl$£,. :;-"?!—       .  .  .  ()@lb% 
1234567890aeoefiflffffiffl$£,.: ;-"?!-  —  . .  .        ()@th% 

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1060 


AIDS  IN  SELECTING 

Legibility  Group  Faces 

The  various  sizes  available  in  the  Linotype  Legibility  Group  have  been  sub- 
jected to  certain  tests  as  to  the  approximate  word-counts  in  12-pica  columns, 
211/^  inches  in  depth.  A  synopsis  is  tabulated  herewith,  together  with  other  data 
which  will  be  helpful  to  those  who  are  considering  body  dresses.  The  following 
comparative  figures  are  available: 

1  Alphabet  Lengths  of  the  Linotype  3  Percentage  of  comparative  word- 
Legihility  Group  in  various  sizes.  counts  of  various  Linotype  Legibility 

2  Approximate    word -count    to    21 V2      ^^oup  faces. 

inch  12-pica  column  of  various  sizes  of  4  Faces  that  are  duplexed  with  Lino- 
the  Linotype  Legibility  Group.  type  Legibility  Group  faces. 


What  are  the  Alphabet  Lengths  of  the  various  available  sizes 
of  the  Linotype  Legibility  Group? 


5 

5'/2 

6 

6>/2 

6  3/4 

7 

71  2 

7'4 

8 

9 

10 

11 

12 

Ionic 

84 

94 

104 

110 

107 

114 

121 

127 

139 

146 

163 

Excelsior 

No.l 

§No.2 

95 

100 

107 

118 

§115 

123 

125 

126 
§123 

133 

142 

151 

158 

Opticon 

102 

109 

119 

125 

130 

134 

144 

160 

Paragon 

101 

108 

120 

124 

129 

136 

145 

Textype 

102 

110 

.... 

115 

125 

136 

153 

14 


171 


167 


What  are  the  approximate  word-counts  to  a  21^2  inch  column, 
12  picas,  as  shown  in  various  sizes  of  Linotype  Legibility  Group? 


5 

5V2 

6 

6V2 

6%* 

7 

7V2 

7%- 

8 

9 

10 

11 

12           14 

Ionic 

2586 

2070 

1747 

1576 

1469 

1345 

1202 

1077 

866 

745 

608         

Excelsior 

No.l 

§No.  2 

2320 

1963 

1698 

1348 
§1361 

1221 

1129 

1133 
§1144 

951 

833 

708 

608          472 

Opticon 

1928 

1670 

1320 

1202 

1078 

951 

822 

608 

Paragon 

1956 

1682 

.... 

1223 

1100 

914 

784 



Textype 

1795 

1389 

1185 

990 

850 

650          488 

.  Set  on  next  e 

LTen  pnint  i 

ize  body. 

All  other 

fte 

lies  »rc 

for  solid 

settiMK-s. 

§  Note:  Ni 

.   2  Kxocl 

;lor  Is  si 

ghtly  sni.TlIc 

■  on  the 

>0(ly  thai 

No.   1  Excelsior 

1061 


In  terms  of  percentages,  what  is  the 

comparative  word-count  in  the  various  sizes  and 
leadings  of  the  Linotype  Legibility  Group? 

Note:  For  purposes  of  comparison,  we  have  grouped  sizes 
into  three  general  classifications -1  Classified;  2  Body; 
3  Leaders,  etc.  In  each  group  we  have  indicated  the 
preferred  size  as  100.  Other  sizes  in  each  column  (each 
series)  are  rated  in  the  percentages  that  their  word  counts 
bear  to  the  size  rated  100  in  each  series  of  each  group.  (For 
example;  7V2  point  on  8  is  Indicated  as  100  in  the  Body 
group;  8  point  Opticon  on  8  point  body  would  average  96^o 
as  many  words  to  the  column  as  Opticon  T'i  on  8,  while 
7  point  Ionic  on  T'b  point  body  would  average  112%  as 
many  words  to  the  column  as  Ionic  TVa  on  8,  etc.) 


I-) 

o 


What  are  the  word-count  ratios 

in  similar  groupings  of  the  Linotype  Legibility 
Group? 

Note:  This  table  has  been  prepared  to  show  the  compara- 
tive sizes  and  faces  to  a  common  preferred  selection  in 
each  of  three  groups  (1  Classified;  2  Body;  3  Leaders,  etc.) . 
Excelsior  has  been  taken  as  the  standard  and  is  indicated 
as  100  in  the  Classified  group  S'/z  point  on  S'b  body;  as  100 
in  the  Body  group  7V2  point  on  8  body;  as  100  in  the 
Leaders,  etc.  group  9  point  on  11  body.  Example:  In  the 
Body  group.  Paragon  7  on  7 ''2  bears  the  ratio  of  108  in 
word-count  in  column  length  to  100  in  basic  Excelsior  7^2 
on  8,  while  7  point  Textype  on  7' 2  point  body  (when  com- 
pared with  the  basis,  Excelsior  7^2  on  8)  bears  the  ratio  of 
114  to  100.  etc. 


O 
m 


O 

M 

cn 

U 

a 
< 
u 


Para- 

Tex- 

Pa 

ra-    Tex- 

Ionic 

Excelsior 

OpticoE 

gon 

type 

Ionic 

Excelsior 

Opticon 

gon     type 

5 

on 

5 

125 

118 

f  5 

on 

5 

132 

118 

5 

on 

5V2 

113 

107 

5 

on 

5'b 

119 

107 

51 

'2  on 

5 

115 

110 

Q 

M 

5' 

2  on 

5 

121 

110 

51 

2  on 

51/2 

100 

100 

1  00 

100 

5' 

2  on 

5'2 

105 

100 

98 

100       ... 

5' 

2  on 

6 

91 

91 

92 

92 

5' 

2  on 

6 

96 

91 

90 

92       ... 

5' 

2  on 

6V2 

88 

84 

^^ 

5> 

2  on 

6>'2 

92 

84 

6 

on 

5',^ 

100 

< 

6 

on 

5',i 

105 

6 

on 

6 

84 

86 

87 

86 

100 

>-4 

u 

6 

on 

6 

89 

86 

85 

86         91 

6 

on 

6V2 

78 

80 

80 

79 

92 

6 

on 

6V2 

82 

80 

78 

79         84 

6 

on 

7 

72 

73 

74 

73 

86 

.  6 

on 

7 

76 

73 

73 

73         78 

■ 

No.  1 

N 

0.  Z 

1 

No.  1 

No.  2 

6' 

'2  on 

6 ','2 

140 

6' 

2  on 

6 ','2 

138 

6> 

2  on 

7 

128 

6' 

2  on 

7 

127 

6' 

2  on 

71.2 

121 

6> 

2  on 

7'2 

119 

63 

'4  on 

7 

130 

6= 

'4  on 

7 

129 

6= 

i  on 

7 ','2 

120 

6= 

4  on 

7>2 

119 

7 

on 

7 

120 

118 

119        117 

117 

7 

on 

7 

118       118 

119 

116 

122 

7 

on 

7V2 

112 

110 

12        111 

108 

110 

7 

on 

7'/2 

110       110 

... 

12 

109 

108       114 

7 

on 

8 

105 

103 

05        104 

103 

104 

Q, 

s 

7 

on 

8 

104       104 

05 

102 

102       108 

7 

on 

8 '.'2 

99 

98 

99         98 

97 

97 

7 

on 

8 ','2 

98 

98 

99 

88 

97       101 

71 

2  on 

71/2 

107 

107 

107 

107 

7' 

2  on 

7'/2 

105 

107 

105 

107       ... 

71 

2  on 

8 

100 

100 

..      100 

100 

7' 

2  on 

8 

99 

100 

99 

100       ... 

7" 

2  on 

8 ','2 

95 

94 

95 

95 

7' 

2  on 

8>i 

93 

94 

93 

94       ... 

7' 

2  on 

9 

89 

89 

89 

89 

7> 

2  on 

9 

88 

89 

88 

89       ... 

73 

4  on 

8 

99 

73 

4  on 

8 

99 

73 

i  on 

8V2 

93 

73 

i  on 

8V2 

93 

8 

on 

8 

96 

99 

00         96 

92 

100 

8 

on 

8 

94 

99 

100 

94 

96       104 

8 

on 

8 1/2 

90 

93 

94         90 

91 

94 

8 

on 

8V2 

89 

93 

94 

89 

91         98 

.  8 

on 

9 

86 

88 

89         86 

87 

89 

L  8 

on 

9 

85 

88 

89 

85 

88         93 

9 

on 

9 

117 

120 

121 

120 

121 

9 

on 

9 

110 

120 

120 

116       125 

9 

on 

10 

110 

108 

109 

no 

109 

9 

on 

10 

102 

108 

108 

105       113 

9 

on 

11 

100 

100 

100 

100 

100 

9 

on 

11 

93 

100 

99 

96       103 

10 

on 

10 

101 

106 

105 

103 

104 

, 

10 

on 

10 

94 

106 

104 

99       108 

10 

on 

11 

91 

95 

95 

92 

93 

0 

10 

on 

11 

85 

95 

95 

89         96 

10 

on 

12 

83 

87 

87 

85 

84 

U 

10 

on 

12 

78 

87 

86 

82         87 

11 

on 

11 

90 

CO 

11 

on 

11 

90 

11 

on 

12 

83 

a< 

11 

on 

12 

83 

11 

on 

13 

71 

u 
a 
■< 

11 

on 

13 

71 

12 

on 

12 

82 

77 

77 

80 

12 

on 

12 

77 

77 

77 

82 

12 

on 

13 

77 

72 

73 

74 

u 

12 

on 

13 

72 

72 

72 

76 

12 

on 

14 

72 

67 

68 

67 

fi 

12 

on 

14 

67 

67 

67 

69 

14 

on 

14 

60 

60 

14 

on 

14 

60 

62 

14 

on 

15 

56 

56 

14 

on 

15 

56 

58 

,14 

on 

16 

62 

52 

14 

on 

16 

52 

53 

What  faces  are  duplexed  with  the  various  sizes 
of  the  Linotype  Legibility  Group? 


Ionic  No.  5  — Italic  and  Small  Caps 
Ionic  No.  5 -Bold  Face  No.  2. 
Ionic  No.  5  -  Gothic  No.  16. .  . 
Excelsior  —  Italic  and  Small  Caps 

Excelsior  — Bold  Face  No.  2 

Excelsior  —  Memphis  Bold 

Excelsior  —  Gothic  No.  3 

Opticon  — Italic  and  Small  Caps. 

Opticon  -  Bold  Face  No.  2 

Paragon  — Italic  and  Small  Caps. 

Paragon  —  Bold 

Textype  — Italic  and  Small  Caps 
Textype-Bold  Face  No.  2 

•  Made.  t  No.   1  Excelsior. 


5      5V2      6     6>/2    6  3/4 


t  No.  2  Excelsior.  §  In  procc 


7'/2    73/4      8      8V2 


10      11      12      14      1{ 


n 
n 


1062 


LINOTYPE 

OUTLINE  FAC 


-< 


DE  VINNE  OUTLIN 
with  Bold  Face  No.  6 

sind  with  ITALIC 


CONDENSED  OUTLINE 


iTcni©  mm 
]iim\ 


MERGENTHALER    LINOTYPE    COMPANY 
Brooklyn,  New  York 

NEW  YORK  CITY,  CHICAGO,  SAN  FRANCISCO,  NEW  ORLEANS 


Representatives  in  the  Principal  Cities  of  the  World 


<po  LINOTYPE"- » 


DE  VINNE  OUTLINE 

10  Point  Be  Vinne  Outline  with  Bold  Face  No.  6  (10A2761  Code  word,  JUUS.  Lower  rase  alphabet.  158  points.  Figures.  .083 

HOW  IS  ONE  to  assess  anidl  evaDwate  a  type  face  imi  termris  of  its  es  1234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  es  1234 

12  Point  De  Vinne  Outline  with  Bold  Face  No.  6  (12A122)  Code  word,  JUVA.       Lower  case  alphabet,  187  points.  Figures.  .0968 

HOW  IS  ONE  to  assess  and  ©vailliuiaite  a  type  face  In  ter  11234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  face  in  ter  1234 

14  Point  I)e  Vinne  Outline  with  Bold  Face  No,  fi  (14A8ni   ("ode  word,  JUWE.         Lower  case  alphabet.  219  points.  Fisures,  .1107 

HOW  ES  ONE  to  assess  aiinid  evailimat©  a  typ©  fae  11234 
HOW  IS  ONE  to  assess  and  evaluate  a  type  fae  1234 

12  Point  De  Vinne  Outline  with  Italic  (12A108)  Code  word.  JUQI.  Lower  case  alphabet,  183  points.  Figures.  .0968 

HOW  IS  ONE  to  assess  and  evalimate  a  type  face  nnn  ter  1234 
HOW  IS  ONE  to  assess  said  evMuate  si  type  face  In  ter  1224 


14  Point  De  Vinne  Outline  with  Italic  {14A52)  Code  word.  .lUKO. 


Lower  case  .ilphabet.  21X  pciints.    iMgures,  .1107 


HOW  IS  ONE  to  assess  and  evalimate  a  type  fae  1234 
HOW  !S  ONB  to  assess  and!  evaluate  a  type  iac  1234 

18  Point  He  Vinne  Outline  (18A18.'')  Code  word,  JUSU.  Lower  case  alphabet,  229  points.  Figure  1,  .0968:  2  to  0.  .1107 

HOW  IS  oee  to  assess  amidl  evaloate  a  type  fae  112 

24  Point  De  Vinne  Outline  '24A141)  Code  word.  JUTY.  Lower  case  alphabet.  302  points.  Figures.  .1937 

HOW  IS  oee  to  assess  amud  evaloa  1 2 

30  Point  De  \nine  (Jnlline  l.?0A-'69>  Code  word.  ZF.VYO  Lower  case  alphabet.  .169  points.   Figure  1.  .19,17:  2  to  0.  .2213 

HOW  IS  oee  to  assess  aed  e  1 2 

36  Point  De  \  inne  Outline  (,!6AL'^9)  Code  word.  ZF.YZU.  Lower  case  alphabet,  439  points.  Figure  1.  .2213;  2  to  0.  .249 

HOW  IS  oee  to  assess  12 

Matrix  Information  :  The  10.  12,  14  and  IS  point  si/es  will  run  m  90  channel  magazine.  24  point  De  Vinne  Outline  will  run  in 
72  channel  magazine:  also  lower  case,  except  m  and  w,  in  cap  channels  of  90  channel  magazine  with  caps  and  figures  in  34 
channel  auxiliary  magazine.  30  point  De  Vinne  Outline  will  run  in  Wide  72  channel  magazine:  also  lower  case,  except  m.  in 
cap  channels  of  72  channel  magazine  with  caps  and  figures  in  Wide  34  channel  auxiliary  magazine.  36  point  De  Vinne  Outline 
will  run  in  Wide  72  channel  magazine  and  in  Wide  34  channel  magazine. 

LIST    OF   CHARACTERS   AVAILABLE    IN    TWO-LETTER    FONTS 


ABCDEFQHIJKL 
ABCDEFGHIJKL 

U345 


STUVWXYZ(& 
STUVWXVZd 

rsttmvwxyz         61 
sjvwxyz 


,00  ;  ?!  (I)  *"  =  =  /ECEt1b 
,.:;?!(  )    ''  =  =  /E(Em 

V%  V4  %  Vi  %  Va  % 


^'-LINDTYPE^ 


CONDMSEB  OUTLINE 


10  Point  Condensed  Outline  (lOAIOI)  Code  word.  JIWO.  Lower  case  alphabet.  126  points.  Figures,  .0761 

IS  ONE  to  assess  and  efaliate  a  type  face  im  terms  of  its  estlbietic  desiga?  1234 


12  Point  Condensed  Outline  (12AC9)  Code  word,  JIXU 

;¥ 


Lower  case  alpliabet,  1S4  points.  FiRures.  .0899 


18  Point  Condensed  Outline  (18A75)   Code  word.  JIZV. 


le  to  assess  aii  evalmte  i  tjpe  face  In  terms  (nf  1 


Lower  case  alphabet.  178  points.  Fij^ures.  .1037 


24  Point  C.ndeiised  Outline  (24A99)  Code  word.  JOAM. 


Lower  case  alphabet.  234  points.  Figures.  .1107 


i(0)W  IS  ome  to  assess  iid  e? aliate  a  type  f  i; 


30  Point  Condensed  Outline  f30A53)  Code  word.  JOBV. 


Caps,  figures  and  points  only.  Figures,  .1798 


iiw  IS  iiE  Ti  ASSESS  km  emu  i 


Matrix  Information :  The  10,  12,  18,  and  24  point  sizes  of  Condensed  Outline  will  run  in  90  channel  magazine.  Tlie  30  point 
size  will  run  in  90  channel  magazine,  except  figures,  which  run  according  to  advertising  figure  layout  or  pi. 


LIST   OF   CHARACTERS    AVAILABLE    IN    FONT   ' 

ABCBEFlGMIJILlIOrpSTOfWXYZ 

12345  alcleffllijHiMDPiretifWxyz  67890 

,.:;?!(!)"  =  =  =  &$...  >/§  1/4  % '/2  %  ¥4  % 


12  Point  Gothic  Condensed  Outline  (12A12S)  Code  word,  I.IEP.  Caps,  figures  and  points  only.  Figure  4.  .1176;  balance.  0968 


18  Point  Gothic  Condensed  Outline  (18A247)  Code  word.  LIOK. 


Figure  1.  .0668;  4.  .1522;  balance.  .1245 


ill  li  «E  Ti  ASSESS  All  EMLIATI  k  T  nM 


Matrix  Information  :  The   12  point  si/e  will  run   in  90  channel   magazine.   The   IS  point  size  will   run   in  ^0  channel   magazine, 
except  figures,  which  run  according  to  advertising  figure  layout  or  pi. 


LIST   OF   CHARACTERS   AVAILABLE    IN    FONT 

Ai®llFffll«LiMM^iTOTfW; 

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MISCELLANEOUS 

FACES 

There  are  available  many  Linotype  ^'special-purpose'' 
faces,  both  text  and  display,  which  are  not  provided  in 
complete  series.  These  are  shown  on  the  following  pages. 


Ttvo-Letter  Faces 


POI  NT  SIZE 


POINT  SIZE 


No.  1 0  with  Gothic  No  A 5,6  No.S  with  Bold  Face  No.  2 

No.    6  with  Gothic  No.  16 4Vj      No.  2  with  Gothic  No.  5  . 


No.18  with  Antique  Black  No.  I     ....  5 

No.    4  ii'ith  Bold  Face  No.  2  Cond 5^2 

No.    2  with  Ant/q//e  No.  2 6 

No.lO  with  Italic  and  S.C 5 

No.  1 2  with  Gothic  No.S 6 


Pahst  Old  Style  with  Italic 
Classic  with  Italic  and  S.  C. 

Classic  u  'ith  Cent//ry  Bold 
CI  ear j  ace  Bold  u  'it  Li  Italic 


6,7,8,  10,  12 
.  10,12,14 
.  6,8,  10,  12 
.8,  10,  12,  14 
....  14 


Display  Faces 


P(JI  NT  sizi; 


Pabst  Old  Style  Condensed 18 

Classic  Italic 18 

Antique  Co?idensed 18 

Antique  Extra  Condensed 20 

Caption 24,30,36,42 

Clear/ ace  Bold 18,21,30 

Clearf ace  Bold  Italic 18,  2  1,  30 

Caslon  No.  4 18 

Condensed  Title  No.  I 20 

De  Vinne  Condensed 24,  30 

DeVinne  Extra  Co)idensed    .      .      .      .       18,24 


Jenson  Condensed  . 
Elzevir  No.  2     .      .      . 
Latin  Extra  Condensed 
Latin  Compressed  . 


Latin  Condensed    . 

Title  No.  I 

Title  No.  2 18 

Ionic  Condensed 18,24,30 

Ionic  Extra  Condensed 

Metrolite  No.  [Italic 24 

Metrothin  No.  -4  Italic 24 


POI  NT  SIZR 

18 

.    18,24,30,36 

30 

30 

18,21,24,30,36 

18 

24 
36 


30 
30 


<     LINOTYPE  "> 


MERGENTHALER  LINOTYPE  COMPANY,  BROOKLYN,  NEW  YORK 


5  POINT  No.  10  with  GOTHIC  No.  4 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN''  WHY  DO  THE  PACE- 
MAKERS IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  OF  TYPE?  WHAT  DO  THEY  SEE  IN  IT?  WHY  IS 


How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  es- 
thetic design?  Why  do  the  pace-makers  in  the  art  of  printing 
ra\c  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is 
it  sn  superlatively  pleasant  to  their  eyes?  Good  design  is  always 
practical  design.  And  what  they  see  in  a  good  type  design  is, 
partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made 
nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has 
to  do,  neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste 
of  material  and  no  lack  of  strength.  And.  beyond  that,  the  chair 
may  have  been  made  by  a  man  who  worked  out  in  it  his  sense  of 
fine  shapes  and  curves  and  proportions:  it  may  be,  actually,  a 
work  of  art.  The  same  thing  holds  for  shapes  of  letters.  And  your 
chair,  or  your  letter  (if  a  true  artist  made  it)  will  have,  besides 
its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or 
stamped  on  paper  and  read.  That  explains,  in  a  way,  why  the 
experts  rave  over  the  fine  shapes  of  letters;  but  it  fails  to  explain 
wlicrein  the  shapes  are  fine.  If  you  seek  to  go  further  with  the 
inquiry,  theories  will  be  yoitr  only  answer.  Here  is  a  theory  that 
tlic  proponent  thinks  may  have  sense  in  it:  Fine  type  letters  were, 
in  the  first  place,  copies  of  tine  written  letters.  Fine  written  let- 
ters were  fine  because  they  were  produced  in  the  most  direct  and 
simple  way  by  a  tool  in  the  hands  of  a  person  expert  in  its  use, 
by  a  person,  moreover,  who  was  an  artist,  i.e.,  a  person  equipped 
to  make  sound  judgments  about  lines,  curves,  proportions,  etc. 
The  artist  of  that  moment  when  printing  was  invented  wlio  fur- 
nished the  fine  written  patterns  for  type  was  (luckily  for  print- 
ing) working  at  the  top  notch  of  a  fine  tradition  of  calligraphy. 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  es- 
thetic design?  Why  do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is 
(solid) 


How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  es- 
thetic design?  Why  do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Wliy  is 
it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always 
practical  design.  And  what  they  see  in  a  good  type  design  is. 
partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made 
nicely  to  the  right  size  to  do  exactly  the  work  that  tlie  chair  has 
to  do,  neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste 
of  material  and  no  lack  of  strength.  And,  beyond  that,  tlie  chair 
may  have  been  made  by  a  man  who  worked  out  in  it  his  sense  of 
fine  shapes  and  curves  and  proportions:  it  may  be,  actually,  a 
work  of  art.  The  same  thing  holds  for  shapes  of  letters.  And  your 
chair,  or  your  letter  (if  a  true  artist  made  it)  will  have,  besides 
its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or 
stamped  on  paper  and  read.  That  explains,  in  a  way.  why  the 
experts  rave  over  the  fine  shapes  of  letters;  but  it  fails  to  explain 
wherein  the  shapes  are  fine.  If  you  seek  to  go  further  with  the 
inquiry,  theories  will  be  your  only  answer.  Here  is  a  theory  that 
the  proponent  thinks  may  have  sense  in  it:  Fine  type  letters  were. 
in  the  first  place,  copies  of  fine  written  letters.  Fine  written  let- 
ters were  fine  because  they  were  produced  in  the  most  direct  and 
simple  way  by  a  tool  in  the  hands  of  a  person  expert  in  its  use, 
by  a  person,  moreover,  who  was  an  artist,  i.e..  a  person  equipped 
to  make  sound  judgments  about  lines,  curves,  proportions,  etc. 
The  artist  of  that  moment  when  printing  was  invented  who  fur- 
(one  point  leaded) 


AHCDEFGHIJKI.MNOPQRSTrVWXYZ 
ABCDEFGHIJKLMNOPQRSTUVWXYZ 

abcdefghijklriinopqrstuwvxyz 
abcdefghijklmnopqrstuvwxyz 

12345  ($.€, 

12345  ($£, 


?!"tt§!lfiH(rmftI)  67890 
?!*tJ§llflnffffifn)  67890 


Matrix  Information  :  5A3 
zine.  Code  word.  MOKZ. 


Lower  case  alphabet,  76  points.  Figures.  .()41S;  coniuia  and  period,  .0277.  Runs  in  90  channel  maga- 


-(      LINOTYPE""'> 


6  POINT  No.  iU  with  GOTHIC  No.  4 

HOW  IS  OXE  TO  AS.SESS  .\M)  EVALUATE  A  TYPE  FACE  IN  TEKMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  T 
PACE-MAKERS  IN  THE  ART  OF  PRINTIX(;  RAVE  OVER  A  SPECIFIC  FACE  OK  TYPE?  WHAT  DO  THEY  SEE 


How  is  one  to  assess  and  evaluate  a  type  face  in  terms 
of  its  estlietic  design?  Why  do  tlie  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it  ?  Why  is  it  so  superlatively  pleasant  to 
their  eyes?  Good  design  is  always  practical  design.  And 
what  they  see  in  a  good  type  design  is.  partly,  its  excel- 
lent practical  fitness  to  perform  its  work.  It  has  a  "heft" 
and  balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its  pa.  .s 
made  nicely  to  the  right  size  to  do  exactly  the  work  that 
the  chair  has  to  do,  neither  clumsy  and  thick,  nor 
"skinny"  and  weak,  no  waste  of  material  and  no  lack  of 
strength.  And,  beyond  that,  the  chair  may  have  been 
made  by  a  man  who  worked  out  in  it  his  sense  of  fine 
shapes  and  curves  and  proportions :  it  may  be,  actually, 
a  work  of  art.  The  same  thing  holds  for  shapes  of  let- 
ters. And  your  chair,  or  your  letter  (if  a  true  artist 
made  it)  will  have,  besides  its  good  looks,  a  suitability 
to  tlie  nth  degree  to  be  sat  in,  or  stamped  on  paper  and 
read.  That  explains,  in  a  way,  why  the  experts  rave  over 
the  fine  shapes  of  letters  ;  but  it  fails  to  explain  wherein 
the  shapes  are  fine.  If  you  seek  to  go  further  with  the 
inquir.y,  theories  will  be  your  only  answer.  Here  is  a 
theory  that  the  proponent  thinks  may  have  sense  in  it: 
Fine  type  letters  were,  in  the  first  place,  copies  of  fine 
written  letters.  Fine  written  letters  were  fine  because 
they  were  produced  in  the  most  direct  and  simple  way 
How  Is  one  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  of  type?  What 
(solid) 


How  is  one  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  of  type  ?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to 
their  eyes?  Good  design  Is  always  practical  design.  And 
what  they  see  in  a  good  type  design  is,  partly,  its  excel- 
lent practical  fitness  to  perform  its  work.  It  has  a  "heft" 
and  balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its  parts 
made  nicely  to  the  right  size  to  do  exactly  the  work  that 
the  chair  has  to  do,  neither  clumsy  and  thick,  nor 
"skinny"  and  weak,  no  waste  of  material  and  no  lack  of 
strength.  And,  beyond  that,  the  chair  may  have  been 
made  by  a  man  who  worked  out  in  it  his  sense  of  fine 
shapes  and  curves  and  proportions  :  it  may  be,  actually, 
a  work  of  art.  The  same  thing  holds  for  shapes  of  let- 
ters. And  your  chair,  or  your  letter  (if  a  true  artist 
made  it)  will  have,  besides  its  good  looks,  a  suitability 
to  tlie  nth  degree  to  be  sat  in,  or  stamped  on  paper  and 
read.  That  explains,  in  a  way,  why  the  experts  rave  over 
the  fine  shapes  of  letters ;  but  it  fails  to  explain  wherein 
the  shapes  are  fine.  If  you  seek  to  go  further  with  the 
imiuiry,  theories  will  be  your  only  answer.  Here  is  a 
theory  that  the  proponent  thinks  may  have  sense  in  it: 
Fine  type  letters  were,  in  the  first  place,  copies  of  fine 
written  letters.  Fine  written  letters  were  tine  because 
(oiu-  flint  leaded) 


ABCDEFGHI.IKLMNOPQRSTi;VWXYZ& 
ABCDEFGHIJKLIVINOPQRSTUVWXYZ&. 

abcdefghijklmnopqrstuvwxyz 

abcdefghijklmnopqrstuvwxyz 
12345  ($£,.:;'-'?  !*tt§llfiflfffflffl)  6789(1 
12345  ($£,.:  ;'-'?!*tt§Pflffftifn)  67890 

Matrix  Information :  6A76.  Lower  case  alphabet.  91   points.   Figures.  .04.S4 ;  Lotnma.  period  and  thin  space,  .0277.  Runs  in  90 
channel  niaga/ine.  Code  word,  MOFY. 


1068 


Wa  point  No.  6  with  GOTHIC  No.  16 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE 
MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  OF  TYPE?  WHAT  DO  THEY  SEE  IN  IT?  WHY  IS 


How  is  one  to  assess  and  e\aluate  a  type  fare  in  terms  nf  its  es- 
thetic desU'n?  Why  do  the  pace-mjikcrs  in  the  art  of  printing 
lave  over  a  specific  face  of  type?  What  do  they  see  In  it?  Why  is 
it  so  superlatively  pleasant  In  their  eyes?  Good  design  is  always 
practical  design.  And  what  they  see  in  a  ;;c)()d  type  (iesii,'n  is, 
partly,  its  excellent  practical  fitness  to  perforin  its  work.  It  has  a 
"heft"  and  balance  in  all  nf  its  parts  just  ritilit  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  nf  its  parts  made  nicely 
to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do, 
neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of 
material  and  no  lack  of  stren;;th.  And,  beyond  thai,  tht*  chair  may 
liave  been  made  by  a  man  wlio  worked  out  in  it  his  sense  of  fine 
shapes  and  curves  ami  proptjitions:  it  may  bt-,  actually,  a  work  of 
art.  The  same  thint;  holds  for  sliapes  of  letters.  And  your  chair, 
or  your  letter  (if  a  true  artist  made  it)  will  have,  besides  its  Kond 
looks,  a  suitability  to  the  nth  decree  to  be  sat  in,  oi'  stamped  on 
paper  and  read.  That  explains,  in  a  way,  why  the  e\r)erts  nive 
over  the  fine  shapes  of  letters;  but  it  fails  to  explain  wiierein  tlie 
shapes  are  fine.  If  you  seek  to  go  further  with  the  intjuiry.  theo- 
ries will  be  your  only  answer.  Here  is  a  theory  that  the  proponent 
thinks  may  have  sense  in  it:  Fine  type  letters  were,  in  the  first 
place,  copies  of  fine  written  letters.  Fine  written  letters  were  fine 
because  they  were  produced  in  the  most  direct  and  simple  way  by 
a  tool  in  the  hands  of  a  person  expert  in  its  use,  by  a  person, 
moreover,  who  was  an  artist,  i.e.,  a  person  etjuipped  to  make 
sound  judgments  about  lines,  cur\'es.  pr<iporIions,  etc.  The  artist 
of  that  moment  when  printing  was  invented  wlm  finnislied  the 
fine  written  patterns  for  type  was  (luckily  tor  limiting'  wmkiuK 
at  the  top  notch  of  a  fine  tradition  of  caltigrapliy.  He  uas  m;iking 
sound  judgments  about  lines  and  curves  and  propnitions  of  letters. 
He  had  resurrected  an  ancient  distinguished  stvie  of  writing  anil 
liad  added  to  it  the  quality  of  its  own  fine  taste.  His  letters 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  es- 
thetic design?  Why  do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is 

{svixd) 


How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  es- 
thetic design?  Why  do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is 
it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always 
practical  design.  Ami  what  they  see  in  a  good  type  design  is, 
partly,  its  excellent  jiractical  fitness  to  perform  Its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely 
to  the  right  size  to  do  exactly  the  work  tliat  the  chair  has  to  do, 
neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste  of 
material  and  no  lack  of  strength.  And,  beyond  that,  the  chair  may 
have  been  made  by  a  man  who  worked  out  in  it  his  sense  of  fine 
shapes  and  curves  and  proportions:  it  may  be,  actually,  a  work  of 
art.  The  same  thing  holds  for  shapes  of  letters.  And  your  chair, 
or  your  letter  fif  a  true  artist  made  it)  will  have,  besides  its  good 
looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped  on 
paper  and  read.  That  explains,  in  a  way,  why  the  experts  rave 
over  the  fine  shapes  of  letters;  but  it  fails  to  explain  wherein  the 
shapes  are  fine.  If  you  seek  to  go  further  with  the  inquiry,  theo- 
ries will  be  your  only  answer.  Here  is  a  theory  that  the  proponent 
tliinks  may  have  sense  in  it:  Fine  type  letters  were,  in  the  fiist 
place,  copies  of  fine  written  letters.  P'ine  written  letters  were  fine 
because  they  were  produeed  in  the  most  direct  and  simple  way  by 
a  tool  in  the  hands  of  a  pers(jn  expert  in  its  use,  by  a  person, 
moreover,  who  was  an  artist,  i.e.,  a  person  equipped  to  make 
sound  judgments  about  lines,  curves,  proportions,  etc.  The  artist 
of  that  moment  when  printing  was  invented  who  furnished  the 
fine  written  patterns  for  type  was  (luckily  for  printing)  working 
at  the  top  notch  of  a  fine  tradition  of  calligraphy.  He  was  making 
{one  point  leaded) 


r  hitof 
el  mag;: 


abcdefghi.jklmn(>pqrstl:vwxyz& 
abcdefghijklmnopqrstuvwxyz& 

abedefghijklmnopqrstmwxyz 

abcdefghijklmnopqrstuvwxyz 

12343  '$£..:;'-'?!-  t  *  S  Hfillf^ftitfl  )  G7890 

12345  ($£,.:;'-'?!-t  tSlififlffffiffl)  67890 

'latioi  ■  4A4A--  Lower  case  alphabet.  76  puints.   Figures,  .035.?;  cunin 
:ine.  t  ode  word.  ZIFKO. 


period  and  thin  spate.  .()J77.  Kuns  in  90 


-(LINOTYPE'   )- 


5  POINT  No.  18  with  ANTIQUE  BLACK  No.  1 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYl'E  FACE  IN  TEUMS  OK  ITS  ESTHETIC  IJESICN?  WHY  DO  T 
PACEAIAKERS  IN  THE  ART  OF  l'UINTIN(;  RAVE  OVER  A  SPECIFIC  FACE  OF  TYI'E?  WHAT  DO  THEY  SEE 


How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its 
esthetic  design?  Why  do  tlie  pace-makers  in  the  art  ul  print- 
ing rave  over  a  specific  face  of  type?  Wliat  do  tliey  see  in  it? 
Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design 
is  always  practical  design.  And  wliat  they  see  in  a  «oud  type 
design  is.  partly,  its  excellent  practical  fitness  to  perfoini  its 
work.  It  has  a  "lieff'and  balance  in  all  of  its  parts  ju.st  right 
for  its  size,  as  any  good  tool  has.  Your  good  cliair  lias  all  f)f 
its  parts  made  nicely  to  the  right  size  to  do  exactly  the  work 
that  the  chair  has  to  do,  neither  clumsy  arid  thick,  nor 
"skinny"  and  weak,  no  waste  of  material  and  no  lack  of 
strength.  And,  beyond  that,  the  chair  may  have  been  maile 
by  a  man  who  worked  out  in  it  his  sense  of  fine  sliapes  and 
curves  and  proportions:  it  may  be,  actually,  a  work  of  art. 
The  same  thing  holds  for  shapes  of  letters.  And  your  chair, 
or  your  letter  (if  a  true  artist  made  it )  will  liave.  besides  its 
good  looks,  a  suitability  to  the  nth  degree  t"  be  sat  in.  or 
stamped  on  paper  and  read.  That  explains,  in  a  way,  why 
the  experts  rave  over  the  fine  shapes  of  letters:  hut  it  fails  to 
explain  wherein  the  shapes  are  fine.  If  you  seek  to  go  furllier 
with  the  inquiry,  theories  will  he  your  only  answer.  Here  is  a 
theory  that  the  proponent  thinks  may  have  sense  in  if :  Fine 
type  letters  were,  in  the  first  place,  copies  of  fine  written  let- 
ters. Fine  written  letters  were  fine  because  they  were  pro- 
duced in  the  most  direct  and  simple  way  by  a  tool  in  the 
hands  of  a  per.son  expert  in  its  use,  by  a  person,  moreover, 
wlio  was  an  artist,  i.e.,  a  person  equipped  to  make  sound 
judgments  about  lines,  curves,  proportions,  etc.  The  artist  of 
that  moment  when  priiiting  was  inventeil  wlio  furnished  tlie 
fine  written  patterns  tor  type  was  (luc'kily  for  printing! 
working  at  the  top  noteli  of  a  tine  tradition  of  caHigrapliy. 
He  was  making  sound  .iiidgnieiits  about  lines  and  curves  and 
proportions  of  letters.  He  liarl  resurrected  an  anciint  distin- 
guished style  of  writing  and  had  added  to  it  llie  quality  ol 
his  own  fine  taste.  His  letters  flowed  from  liis  pen  ca.sily  and 
How  Is  one  to  assess  and  evaluate  a  type  face  In  terms  of  Its 
esthetic  design?  Why  do  the  pace-maKers  in  the  art  of  print- 
ing pave  over  a  specific  face  of  type?  What  do  they  see  in  It? 

I. <.)/!<?; 


How  is  oire  to  assess  and  evaluate  a  type  face  in  terms  of  its 
esthetic  design?  Why  do  the  pace-makers  in  the  art  of  print- 
ing rave  over  a  specific  face  of  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design 
Is  always  practical  design.  And  what  they  see  in  a  goi"l  type 
design  is,  partly,  its  excellent  practical  fitness  to  ]>erform  its 
work.  It  lias  a  "lieff'and  balance  in  all  of  its  parts  just  right 
for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of 
its  parts  made  nicely  to  the  right  size  to  do  exactly  the  work 
that  the  chair  has  to  do.  neither  clumsy  and  thick,  nor 
"skinny"  and  weak,  no  wa.ste  of  material  and  no  lack  of 
strength.  And,  beyond  that,  the  chair  may  have  been  made 
hy  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and 
curves  and  proportions:  it  may  be,  actually,  a  work  of  art. 
The  same  thing  liolds  for  shapes  of  letters.  And  your  chair, 
or  your  letter  (if  a  true  artist  made  it  I  will  have,  besides  its 
good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or 
stamped  on  paper  anil  rea<l.  That  explains,  in  a  way.  why 
the  exjierfs  rave  over  the  fine  shapes  of  letters:  but  it  fails  to 
exidain  wherein  the  shapes  are  fine.  It  you  seek  to  go  further 
with  the  inquiry,  theories  will  be  your  only  answer.  Here  is  a 
theory  that  the  proponent  thinks  may  have  sense  in  it:  Fine 
type  letters  Were,  in  the  first  place,  copies  of  fine  written  let- 
ters. Fine  written  letters  were  fine  because  they  were  pro- 
duced in  the  most  direct  and  simple  way  by  a  tool  in  the 
hands  of  a  person  expert  in  its  use,  by  a  person,  moreover, 
who  was  an  artist,  i.e.,  a  person  equipped  to  make  sound 
.iudgments  about  lines,  curves,  proportions,  etc.  The  artist  of 
that  moment  when  printing  was  invented  who  furnished  the 
tine  writfi'U  patterns  for  type  was  (luckily  for  printing) 
Working  at  the  top  notch  of  a  fine  tradition  of  calligraphy. 
Ill-  was  making  sound  judgments  about  lines  and  curves  and 
(em-  /.eiii/  leaded) 


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abcdtfghi  iklTini()p(p-st  uvw\>v. 

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51/2  POINT  No.  4  with  BOLD  FACE  No.  2  CONDENSED 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  PACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  D 
THE  PACE-MAKERS  IN  THE  ART  OP  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  OF  TYPE?  WHAT  DO  T 


How  is  one  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  desig-nV  Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant 
to  their  eyes?  Good  desisn  is  always  practical  desi!;n. 
And  what  they  see  in  a  g-ood  type  design  is.  partly,  its 
excellent  practical  fitness  to  perform  its  work.  It  has  a 
"heXt"  and  balance  in  all  of  its  parts  just  risrht  for  its 
size,  as  any  grood  tool  has.  Your  good  chair  has  all  of 
its  parts  made  nicely  to  the  right  size  to  do  exactl.v  the 
work  that  the  chair  has  to  do.  neither  clums.v  and 
thick,  nor  "skinny"  and  weak,  no  waste  of  material 
and  no  lack  of  strength.  And.  beyond  that,  the  chair 
may  have  been  made  by  a  man  who  worked  out  in  it 
his  sense  of  fine  shapes  and  cvirves  and  proportions:  it 
may  be.  actually,  a  work  of  art.  The  same  thing  holds 
for  shapes  of  letters.  And  .vour  chair,  or  your  letter  (if 
a  true  artist  made  it)  will  have,  besides  its  good  looks. 
a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped 
on  paper  and  read.  That  explains,  in  a  way,  why  the 
experts  rave  over  the  fine  shapes  of  letters;  but  it  fails 
to  explain  wherein  the  shapes  are  fine.  If  you  seek  to 
go  further  with  the  inquiry,  theories  will  be  your  only 
answer.  Here  is  a  theor.v  that  the  proponent  thinks 
may  have  sense  in  it:  Fine  type  letters  were,  in  the 
first  place,  copies  of  fine  written  letters.  Fine  written 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Wli.v  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  speoifio  fare  of  type?  What 
(solid) 


How  is  one  to  assess  and  evaluate  a  t.vpe  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant 
to  their  e.ves?  Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design  is.  partly,  its 
excellent  practical  fitness  to  perform  its  woi-k.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good  chair  has  all  of 
its  parts  made  nicely  to  the  right  size  to  do  exactly  the 
work  that  the  chair  has  to  do.  neither  clumsy  and 
thick,  nor  "skinny"  and  weak,  no  waste  of  material 
and  no  lack  of  strength.  And.  beyond  that,  the  chair 
may  have  been  made  by  a  man  who  worked  out  in  it 
his  sense  of  fine  shapes  and  curves  and  proportions :  it 
may  be.  actually,  a  work  of  art.  The  same  thing  holds 
for  shapes  of  letters.  And  your  chair,  or  your  letter  (if 
a  true  artist  made  it)  will  have,  besides  its  good  looks. 
a  suitability  to  the  nth  degree  to  be  sat  in.  or  stamped 
on  paper  and  read.  That  explains,  in  a  way,  why  the 
experts  rave  over  the  fine  shapes  of  letters:  but  it  fails 
to  explain  wherein  the  shapes  are  fine.  If  you  seek  to 
ionc  point  leaded) 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms 

of  Its  esthetic  design?  Why  do  the  pace-mak    s  j  p  (j  y 

(set  zfitit  short  descenders,  on  fire  point  body) 


ABCDEFGin,IKI,MXOPQRSTUVWXYZ& 
AIJCUKF(illlJKI.MN(»r<JKSTl  VWXVZ& 
abc(i(■lJ;hlJlilm^opqrstuvwxyz 
abfdefsl'ijklninopiirstuvwx.vz 
1334,'")  ($£..::'-•?  I'tfSTfinifmm)  07890 
12345  ($£,.:;'-•?!  »+*g1inHflfHlH)  GT890 


Matrix  Information :  5J^A32,  Lower  case  alph:il)et,  96  points.  Figures, 
channel  niaea/ine.  Code  word.  MOC'O. 


.0SS3;  comma,  period  and  thin  space.  .02 


-(      LINOTYPE  "> 


6  POINT  No.  2  with  ANTIQUE  No.  2 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DE 
WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE 


How  is  one  to  a-ssess  and  evaluate  a  type  face 
in  terms  of  its  e.sthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  a 
specific  face  of  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  desig^n. 
And  what  tliey  see  in  a  good  type  design  is, 
partly,  its  excellent  practical  fitness  to  per- 
forin its  work.  It  has  a  "heft"  and  balance  in 
all  of  its  parts  just  right  for  its  size,  as  any 
good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  exact- 
ly the  work  that  the  chair  has  to  do,  neither 
clumsy  and  thick,  nor  "skinny"  and  weak,  no 
waste  of  material  and  no  lack  of  strength.  And. 
beyond  that,  the  chair  may  have  been  made  by 
a  man  who  worked  out  in  it  his  sense  of  fine 
shapes  and  curves  and  proportions:  it  may  be, 
actually,  a  work  of  art.  The  same  thing  holds 
for  shapes  of  letters.  And  your  cha'r.  or  your 
letter  (if  a  true  artist  inade  it)  will  have,  be- 
sides its  good  looks,  a  suitability  to  the  nth  de- 
gree to  be  sat  in,  or  stainped  on  paper  and  read. 
That  explains,  in  a  way.  why  the  experts  rave 
over  the  fine  shapes  of  letters:  but  it  fails  to 
explain  wherein  the  shapes  are  fine.  If  you  seek 
to  ,go  further  with  the  inquiry,  theories  will  be 
How  is  one  to  assess  and  evaluate  a  type  face 
in  terms  of  its  esthetic  design?  Why  do  the 
pace-ntakers  in  the  art  of  printing  rave  over  a 
(solid) 


How  is  one  to  assess  and  evaluate  a  type  face 
in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  a 
specific  face  of  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design  is. 
partly,  its  excellent  practical  fitness  to  per- 
form its  work.  It  has  a  "heft"  and  balance  in 
all  of  its  parts  just  right  for  its  size,  as  any 
good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  exact- 
ly the  work  that  the  chair  has  to  do,  neither 
clumsy  and  thick,  nor  "skinny"  and  weak,  no 
waste  of  material  and  no  lack  of  strength.  And, 
beyond  that,  the  chair  may  have  been  made  by 
a  man  who  worked  out  in  it  his  sense  of  fine 
shapes  and  curves  and  proportions:  it  may  be, 
actually,  a  work  of  art.  The  same  thing  holds 
for  shapes  of  letters.  And  your  chair,  or  your 
letter  (if  a  true  artist  made  it)  will  have,  be- 
sides its  good  looks,  a  suitability  to  the  nth  de- 
gree to  be  sat  in,  or  stainped  on  paper  and  read. 
That  explains,  in  a  way,  why  the  experts  rave 
over  the  fine  shapes  of  letters;  but  it  fails  to 
explaiii  wherein  the  shapes  are  fine.  If  you  seek 
(one  point  leaded) 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKI.MNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyz 

abcdefghijklmnopqrstuvwxyz 

1234.-,  ($  £..::'--?:*ti§'-fififfffiffl)  (!7S90 

12345  ($£,.:;'-'?!*t*§Tlfiflffffifll)  67890 


Matrix  Information :  6A50.  Lower  case 
channel  magazine.  Code  word.  MIBO. 


alphabet.   112  points.  Figures.   .03(> 


lid  thin  space.  .028.  Runs  in  90 


1070 


5  POINT  No.  10  u'ith  ITALIC  and  SMALL  CAPS 


HOW  IS  OXIO  TO  ASSKSS  AM)  EVALrATlO  A  TYTK  FACl^  IX 
MAKKIIS  IN  TlilC  WW  OK  rULNTLNCJ  JtAVK  OVKIt  A  Sl'KClFI 
How  IS  ONE  tti  us.scss  and  fViiluute  a  type  face  in  tcrnis  iit  Us 
esthetic  design?  Why  do  the  pace-inakcrs  in  the  art  of  print itifx 
rave  over  a  specific  face  of  type?  What  do  tiicy  see  in  it/  Wliy  is 
it  so  superlatively  pleasant  to  their  eyes?  Good  dcsifin  in  ahrauti 
practical  dcsifjn.  And  what  tiiey  see  in  a  tionti  type  design  is. 
partly,  its  excellent  practical  fitness  U)  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made 
nicely  to  the  right  size  to  do  exactly  tlie  work  that  the  chair  lias 
to  do,  neither  clumsy  and  thick,  nor  "skinny"  antj  weak,  no  waste 
of  material  and  no  lack  of  strength.  Anil.  Ijcyond  that,  tlie  chair 
How  is  one  to  a.-isexs  and  craluatc-  a  ti/pr  facr  ii)  trrnift  of  (7,s 
esthetic  drftiijiii'  Whij  do  the  jtact  -mukns  in  tin-  art  of  print in>/ 
rave  over  n  sprciftr  fncr  of  tup''^  What  d«  fhf  ti  v  r  hi  it  '  Wfu/  is 
isoltd) 


TKHMS  OF  ITS  ESTHETIC  DKSIGN'/  WHY  00  TIIK  PACK 
C  FACE  OF  TYPK?  WHAT  DO  THl^'  SFK  IN  IT  v  WHY  Ls  IT 
How  IS  ONK  to  assess  and  evaluate  a  type  face  in  terms  of  its 
esthetic  design?  Why  do  the  pace-niaker.s  in  the  art  of  i)rinting 
rave  over  a  specific  face  of  type?  What  do  tliey  see  in  it?  Wiiy  is 
it  so  superlatively  pleasaJit  to  their  eyes?  Good  design  is  aUcam 
practical  desiun.  And  what  they  see  in  a  good  type  design  is, 
Iiartly,  its  excellent  practical  fitness  to  perform  its  work.  It  has  a 
"lieft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Y'our  good  chair  lias  all  of  its  parts  made 
nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has 
to  do,  neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no  waste 
of  material  and  no  lack  of  strength.  And.  beyond  that,  the  chair 
may  ha\e  been  made  by  a  man  who  worked  nut  in  it  liis  sense  of 
(  n„r  pniiit  U-adrJ) 


Al!Cl»KI''(;iII.IKl,.\I\(H'(iUSTi"VWXY/.\- 
A  K(  •[  1 K  Ki ;  H I J  K  I .  M  .\  o  I  'tj  1!ST  I :  V  W  .\  V  V.ik 

abedefghijkImnop(|rstu\'wxyz 
ahcdcffjhijklmnoiuiistuvirxiiz 

I2:nr.  (.1;  i:. .:;'-'?!  "ttsnifiiTftifii  i  (mSoo 

12,V,5  ($€,.:  ;'-•;'.'    it^'^pflfffjfiffl)  r,7H'J(i 


Mntr 

cll.'ilM 


nation  : 
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-de  word 


se  alph.'ibet.   JG  p.-ints.    V'l-^ 


.n4S-l;  coTiini 


>d   and   tliin   sp 


-{LINOTYPE     >- 


6  POINT  No.  12  with  GOTHIC  No.  8 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN'.'  WHY  DO  THE 
I'ACEMAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  OF  TYPE?  WHAT  DO  THEY  SEE  IN 


H(i\v  is  one  to  assess  and  evaluate  a  type  face  in  terms  of 

its  esthetic  design?  Why  do  the  jiace-makiTs  in  the  art  of 

printinK  rave  over  a  specific  face  of  tyjie?  What  do  tliey 

sec  ill  it  V  Wliy  is  it  so  suiierlal  i\"ely  pleasant  to  tlieir  eyes? 

Good  design   is  always  practical   design.  And   wliat  tlie.v 

sre  in  a  good  t\*pe  drsign  is.  partly,  its  excellent  ]iractical 

fitness  to  perform  its  work.  It  has  a  "heft"  and  balance  in 

all  of  its  parts  just  right  tor  its  size,  as  any  good  tool  has. 

Your  good  cliair  has  all  of  its  parts  made  nicelv  to  (lie 

right  siz.'  to  dn  rx.'iclly  tlie  work  that  tlir  chair  has  t..  dn. 

How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of 

its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of 

printing  rave  over  a  specific  face  of  type?  What  do  they 
(s,'l,d) 

AI!Cl)KF(;ill.IKE.MN(lP(,)I!STr\\V.\YZ\' 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
alM-dcfghijkliniH)p(irstu\\\x\  /, 
abcdefghijUmnopqrstuvwxyz 
12:i4'i  ($£,.:  I'-'r:  *  +  !  >!'tifltritilfl )  f.TsiHi 
12345  ($£,.:;•-•?!  *tt§Tlfiflffffiffl)  67890 


How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of 
its  estlietic  design?  Why  do  the  pace-makers  in  the  art  of 
printing  rave  over  a  sjiecific  face  of  t.vpe?  What  ilo  they 
SIM'  ill  it  ?  Why  is  it  so  superlatively  pleasant  to  their  e.ycs? 
Good  design  Is  always  practical  design.  .\iid  what  they 
see  in  a  good  type  design  is.  partly,  its  excellent  pr:ictical 
fitness  to  perform  its  work.  It  has  a  "heft"  and  halaiicr'  in 
all  of  its  parts  just  right  for  its  size,  as  an.v  good  tool  has. 
Yiiiir  good  chair  has  all  of  its  parts  made  nicely  to  the 
right  size  to  do  e.xactl.v  the  work  that  the  chair  has  to  do, 
neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no 
(eiic  pnhit  Icadi-il) 


Matrix  Info 
di.-nniel  in.m 


fiA.'i: 
.<le  «. 


Lower  c.'i 
-d.  MdlP. 


se  alph.ihel.  SS  p. 


Fimir 


.On 


iiitini.i.   peril"! 


-(LINOTYPE     )- 


6  POINT  No.  8  with  BOLD  FACE  No.  2 


HOW  IS  ONE  TO  ASSESS  AND  EVALl^ATE  A  TYPE  P^ACE  IN  TERMS  OP  ITS  ESTHETIC  DE 
WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE 


How  i.s  one  to  as.sess  and  evaluate  a  type  face  in 
terms  of  its  e.sthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it 
so  superlatively  pleasant  to  their  eyes?  (Jood  <le- 
sisn  is  iilHii.vs  j)ra<ti<-al  (lesiKii.  And  what  they 
see  in  a  good  type  design  is,  partly,  its  excellent 
practical  fitness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right 
for  its  size,  as  any  good  tool  has.  Your  good 
Ho«  is  one  to  assess  and  evaluate  u  t.vpe  fa<'e  in 
terms  of  its  esthetic  design?  M  h.v  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 

ABCDEPGHIJKLMNOPQRSTUVWXYZ& 
.\lt('l>KF<illI.IKI.>IN<>I»<JKSTr\  M  XVZX- 
abcdefghijklmnopqrstuvwxyz 
abc<lefghijklinnopi|rst  ii  v \v\.v7, 

1234,T  ($s:..:;'-'?!nt§l[nflfffiiffl)  67890 
VZ-MT,  (l);£,.:;'-'?!*t+S1iMllirtnftl)  (!7K!»0 


How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it 
so  superlatively  pleasant  to  their  eyes?  (iond  de- 
sign is  alwa.vs  practi<'al  design.  And  what  they 
.see  in  a  good  type  design  is,  partly,  its  excellent 
practical  fitness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right 
for  its  size,  as  any  good  tool  has.  Your  good 
chair  has  all  of  its  parts  made  nicely  to  the  right 
(one  point  Uaded  > 


Motrir  liitonniitioH  : 
channel  magazine.  Ci 


I, A  1:2.   l.iiuer  1.1- 
ide  word,  .\1(1DU. 


h>li,il'et.   II)'-'  piiiiils.    Fi 


.U-tX-4; 


periinl  ami  thin  >pace.  .02 


1070  a 


6  POINT  No.  2  with  GOTHIC  No.  3 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DES 
WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  O 
How  is  one  to  assess  and  evaluate  a  type  face  in  How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace-  terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  oyer  a  specific  rnakers  in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so  f  of  tVDe->  What  do  thev  see  in  if  Whv  is  it  so 
superlatively  pleasant  to  their  eyes?  Good  de-  lace  or  type  wnat  ao  tney  see  in  it .  wnyisitso 
sign  Is  always  practical  design.  And  what  thev  superlatively  pleasant  to  their  eyes?  Good  de- 
see  in  a  good  type  design  is,  partly,  its  excellent  sign  is  always  practical  design.  And  what  they 
How  is  one  to  assess  and  evaluate  a  type  face  in  see  in  a  good  type  design  is,  partly,  its  excellent 
terms  of  its  esthetic  design?  Why  do  the  pace-  practical  fitness  to  perform  its  work.  It  has  a 
makers  in  the  art  of  printing  rave  over  a  specific  "heft"  and  balance  in  all  of  its  parts  just  right 
(^«>'d)  (one  point  leaded) 

ABCr)EFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLIV1NOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyz 

abcdefghljklmnopqrstuvwxyz 
12345  (?£,.::'-'?!*tt§{Ififlffffiffl)  67890 
12345  ($£,.:;'-'?!*tt§lIflflffffiffl)  67890 

Matrix  Iniormation:  6A6.  Lower  case  alplialiet.   lOfi  points.   Figures.   .0.=;o;  comma,  period  and  thin  space,  .031.  Runs  in  90 
channel  niaRazine.  Code  word,  MIWA. 


-(      LINDTYPE"")- 


7  POINT  No.  2  with  GOTHIC  No.  3 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETI 
DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  S 
How  is  one  to  assess  and  evaluate  a  type  face  How  is  one  to  assess  and  evaluate  a  type  face 
in  terms  of  its  esthetic  design?  Why  do  the  in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  pace-makers  in  the  art  of  printing  rave  over 
a  specific  face  of  type?  ^\  hat  do  they  see  in  ^  ^  ^^j^^  ^^^^  ^j  ^  ,  ^j^^^  ^^  ^^  ^^^  .^ 
It?    Why   is    it   so    superlatively   pleasant   to        ..,.„„„        .      -^  ,    i.      ,         ,  ^   ^ 

their  eves?  Good  design  Is  always  practical  ''^'  ^^>'  '^  '*  ^^  superlatively  pleasant  to 
design.  And  what  they  see  in  a  good  typo  de-  ^^eir  eyes?  Good  design  is  always  practical 
How  is  one  to  assess  and  evaluate  a  type  face  design.  And  what  they  see  in  a  good  type  de- 
in  terms  of  its  esthetic  design?  Why  do  the  sign  is,  partly,  its  excellent  practical  fitness 
pace-makers  in  the  art  of  printing  rave  over       to  perform  its  work.  It  has  a  "heft"  and  bal- 

'■'"'"''  (owe  point  leaded) 

ABCDEFGITI.TKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZA 

abcdefghi.iklmnopcirstuvwxyz 
abcdefghijklmnopqrstuvwxyz 

12.?4ri  ($£,.:  ;'-'?!  •ttSHfiflffffiffi)  67S90 
12345  ($£,.:  ;'-'?!*tt§1Ififlffffiffl)  67890 

Matrix  Information:  7A30.  Lower  case  alphabet.  116  points.  Figures,  .0.^6;  comnia,  period  and  thin  space,  .028.  Runs  in  90 
channel  magazine.  Code  word,  MIXE. 


(c  LINOTYPE^ 

8  POINT  No.  2  with  GOTHIC  No.  3 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETI 
DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SP 
How  is  one  to  assess  and  evaluate  a  type  How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design?  Why  do  face  in  terms  of  its  esthetic  design?  Why  do 
the  pace-makers  In  the  art  of  printing  rave  the  pace-makers  in  the  art  of  printing  rave 
over  a  specific  face  of  type?  What  do  they  Q^e,.  ^  specific  face  of  type?  What  do  they 
see  in  It?  Why  is  it  so  superlatively  pleasant  ^^^  j^^  .^,  ^^  .^  .^  ^^  superlatively  pleasant 
to  their  eyes?  Good  design  is  always  practi-      .,    ,,     .  „  ^       ,    ,     .       .       , 

How  is  one  to  assess  and  evaluate  a  type  to  their  eyes?  Good  design  is  always  practi- 
face  in  terms  of  its  esthetic  design?  Why  do  ^al  design.  And  what  they  see  in  a  good  type 
the  pace-makers  in  the  art  of  printing  rave       design  is,  partly,  its  excellent  practical  fit- 

isolid)  (">"'  point  leaded) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefgliijklmnopqrstuvwxyz 

abcdefghijklmnopqrstuvwxyz 
12345  ($£,.:  ;'-*?!*tt§tlfiflft'ffiffl)  67890 
12345  ($£,.:  ;'-'?!*tt§T[fiflffffiffl)  67890 

Matrix  Information  :  SA70.  Lower  case  alplialiet.  118  points.  Figures,  .059;  (.oiiima.  period  and  thin  space.  .0295.  Runs  in  90 
cliannel  magazine.  Code  word.  MIVD. 


1070  b 


10  POINT  No.  2  tvith  GOTHIC  No.  3 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design.  And  what  they  see  in  a  good 
type  design  is,  partly,  its  excellent  practical  fitness  to  perform  its  work.  It 
has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as  any  good 
tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to 
do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor 
"skinny"  and  weak,  no  waste  of  material  and  no  lack  of  strength.  And.  be- 
yond that,  the  chair  may  have  been  made  by  a  man  who  worked  out  in  it  his 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of 

(t^,^'o  point  leaded  I 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyz 

abcdefghijklmnopqrstuvwxyz 
12345  ($£,.:;'-'?  !*tj§^fiflffffiffl)  G7890 
12345  ($£,.:;'-'?!-tt§11f'flffffiffl)  67890 

Matrix  Jninrmntion:  inAlfiJ-  l..iw<r  tase  nlphal.t-t.  H.'  pciints.  Figures.  .0761  ;  ciiiiniia.  period  and  thin  ^[lace.  MH.  Knns  in  9(1 
channel  niaga/ine.  r,,de  wiird.  MIZI. 


(LINOTYPE     ) 

12  POINT  No.  2  with  GOTHIC  No.  3 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  T 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  es- 
thetic design?  Why  do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  type?  What  do  tliey  see  in  it?  Why  is 
it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always 
practical  design.  And  what  they  see  in  a  good  type  design  is, 
partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has 
a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  es- 
thetic design?  Why  do  the  pace-makers  in  the  art  of  printing 

./T,','  f'inl  Ir.idrd  ' 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFCHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyz 

abcdefghijklmnopqrstuvwxyz 
12345  ($1',. :;'-'?  !*tt§1Ififlfffhffl  I  67890 
12345  ($£,.:;'-'?!-ti§l|fiflffffiffl)  67890 

Matrix  Infnrmalion:  l-'AI'iV  l.iner  .  ase  alph.ihcl.  17(1  pi,int-~.  I'mur.--.  .ll.S'i'j;  ,,.inn.a,  pt-ncd  ami  tliin  -pa<e.  .()AA\).  Runs  in  90 
channel  niaua/ine.  ('■■de  m.rd.  MO.A.X. 


1071 


10  POINT  PABST  OLD  STYLE  with  ITALIC 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS 

How  IS  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do 
the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they 
see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always 
■practical  design.  And  what  they  see  in  a  good  type  design  is,  partly,  its  excellent  prac- 
tical htness  to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just 
right  for  its  size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely 
to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and 
thick,  nor  skinny  and  weak,  no  waste  of  material  and  no  lack  of  strength.  And,  be- 
yond that,  the  chair  may  have  been  made  by  a  man  who  worked  out  in  it  his  sense  of 
How  IS  one  to  assess  and  evaluate  a  type  face  m  terms  of  its  esthetic  design?  why  do 
the  pace-makers  m  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do  they 

(tZL'o  point  Iraiird  I 

ABCDEFGHIJKLMNOPQRSTUVWXYZd? 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvNvxyz 
ahcdef  ghi  ]kl  mnopqrstuvwxyz 

12345  ($£,.:  ;'-7!*t1:§^^flffffiffl)  6'890 
12345  ($£..:;'-?immflffff^ffl)  67890 

Matrix  Information  :  10A194.  Lower  case  alphabet,  128  points.  Figures,  .0692;  comma,  period  and  thin  space.  .0346.  Runs  in  90 
cli.'innel  niaga/ine.  (ode  w  or(L  XO^'G. 


(LINOTYPE    0 

12  POINT  PABST  OLD  STYLE  with  ITALIC 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TER 

How  IS  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  estnetic  de- 
sign? Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant 
to  their  eyes  ?  Good  design  is  always  ^racticaJ  design .  And  what  they  see 
in  a  good  type  design  is,  partly,  its  excellent  practical  fitness  to  perform 
its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely 
to  the  right  size  to  do  exactly  the  work  that  the  chair  has  to  do,  neither 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  estnetic  de- 
sign? Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific 

ttzvu  fi'int  U-iuIrd  I 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&? 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ahcdef  ghijklmnopqrstuvwxyz 
abed  ef  ghi  jhl  mnopqrstuvwxyz 

12345  ($£,. :  ;'.7  !*t$§1Ififlffififfl)  67890 
12345  ($£,.:  :'-'?!*n§Wfffffff)  ^7890 

Matrix  Information:  12A130.  Lower  case  alphabet,  151  points.  Figures.  .083;  comma,  period  and  thin  space.  .0415.  Runs  in  90 
channel  magazine.  Code  word.  NOZA. 


1072 


14  POINT  PABST  OLD  STYLE  u}th  ITALIC 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FA 

liow  IS  one  to  assess  and  evaluate  a  type  face  in  terms  of  its 
esthetic  design?  Why  do  the  pace-makers  in  the  art  of  print- 
ing rave  over  a  specmc  face  of  type?  What  do  they  see  in  it? 
Why  IS  it  so  superlatively  pleasant  to  their  eyes?  Good  design 
js  aliuays  practical  design.  And  -what  they  see  in  a  good  type 
design  IS,  partly,  its  excellent  practical  htness  to  perform  its 
Hoiv  75  one  to  assess  and  evaluate  a  ty^e  face  in  terms  of  its 
esthetic  design?  why  do  the  -^ace-mahers  in  the  art  of  ^nnt- 

ABCDEFGHIJKLMNOPQRSTUVWXYZa^ 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyz 
ahcdefghijhlmno^qrstuvivxyz 

12345  ($£,. :  ;'-7  !nt§l|fiflffffiffl)  67890 

12345  ($£,.:  r-yrmmfimm)  67890 

Matrix  Injonnatun} :  14A''''^.  T.^wer  lase  .ilpli.ilict.  IX]  i.Mnit>.  I'"it;urcs.  .(rif.S;  cnmnia.  ptTiini  and  thin  spare.  .'M,S4.  I^uiis  in  00 
channel  tnaua/ine.  (  i>(le  wurd.  XUAT.. 


C      LINOTYPE   O 

18  POINT  PABST  OLD  STYLE  CONDENSED 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A 

How^  IS  one  to  assess  and  evaluate  a  type  race  m 
terms  of  its  estketic  design?  Wny  do  tne  pace-mak- 
ers m  tne  art  or  printing  rave  over  a  specinc  race  of 
type?  Wkat  do  tkey  see  m  it?  Wny  is  it  so  superla- 
tively pleasant  to  tlieir  eyes?  Good  design  is  always 
practical  design.  And  \vnat  tney  see  m  a  good  type 
design  is,  partly,  its  excellent  practical  fitness  to 

ABCDEFGHIJKLMNOPQRSTUVWXYZ&^ 

abcdef  gkij  klmnopqrstuvwxyz 

12345  ($,.:;'-'?!fiflffffiffl)  67890 

jl/u(/-i.r  Inh'rmati.ni  :  ISA''.!.  I.mwit  c.i-^e  ."ilplialiet.  _'!=;  puints.  FiKines.  .11(17;  omnia.  ikti.hI  .nul  linn  -iMCf.  .U.^.i.!.  Kuns  ill  90 
clianiie:  maKa/ine.  (  ...le  uc.ril.  .NUBA. 


1073 


6  POINT  CLASSIC  with  ITALIC  and  SMALL  CAPS 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN  ?  WHY  DO  THE 
PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  OF  TYPE?  WHAT  DO  THEY  SEE  IN 


How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of 
its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of 
printing  rave  over  a  specific  face  of  type?  What  do  they 
see  in  it?  Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design.  And  what 
they  see  in  a  good  type  design  is,  partly,  its  excellent 
practical  fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as  any 
good  tool  has.  Your  good  chair  has  all  of  its  parts  made 
nicely  to  the  right  size  to  do  exactly  the  work  that  the 
chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny" 
and  weak,  no  waste  of  material  and  no  lack  of  strength. 
And,  beyond  that,  the  chair  may  have  been  made  by  a  man 
who  worked  out  in  it  his  sense  of  fine  shapes  and  curves 
and  proportions;  it  may  be,  actually,  a  work  of  art.  The 
same  thing  holds  for  shapes  of  letters.  And  your  chair,  or 
your  letter  (if  a  true  artist  made  it)  will  have,  besides  its 
good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or 
stamped  on  paper  and  read.  That  explains,  in  a  way,  why 
the  experts  rave  over  the  fine  shapes  of  letters;  hut  it 
fails  to  explain  wherein  the  shapes  are  fine.  If  you  seek 
to  go  further  with  the  inquiry,  theories  will  be  your  only 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of 
its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of 
(solid) 


How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of 
its  esthetic  design?  Why  do  the  pacermakers  in  the  art  of 
printing  rave  over  a  specific  face  of  type?  What  do  they 
see  in  it?  Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design.  And  what 
they  see  in  a  good  type  design  is,  partly,  its  excellent 
practical  fitness  to  perform  its  work.  It  has  a  "heft"  and 
balance  in  all  of  its  parts  just  right  for  its  size,  as  any 
good  tool  has.  Your  good  chair  has  all  of  its  parts  made 
nicely  to  the  right  size  to  do  exactly  the  work  that  the 
chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny" 
and  weak,  no  waste  of  material  and  no  lack  of  strength. 
And,  beyond  that,  the  chair  may  have  been  made  by  a  man 
who  worked  out  in  it  his  sense  of  fine  shapes  and  curves 
and  proportions:  it  may  be,  actually,  a  work  of  art.  The 
same  thing  holds  for  shapes  of  letters.  And  your  chair,  or 
your  letter  (if  a  true  artist  made  it)  will  have,  besides  its 
good  looks,  a  suitability  to  the  nth  degree  to  be  sat  in,  or 
stamped  on  paper  and  read.  That  explains,  in  a  way,  why 
the  experts  rave  over  the  fine  shapes  of  letters;  but  it 
fails  to  explain  wherein  the  shapes  are  fine.  If  you  seek 


(one  point  lcad<:d) 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHl}KLMNOPQRSTUVWXrZ& 

ABCDEFCHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyz 
abcdefghijklmnopqrstiivwxy: 

12345  ($£,.:  ;'-'?!*t*§1lfifltfftiffl)  67890 
12345  ($£,.:;'-'?  !  ftilfffflffl)  67890 

.Matrix  Information :  6A30.  Lower  case  alphabet,  87  points.  Figures.  .0484;  en 
channel  magazine.  Code  word,  JANU. 


period  and  thin  space.  .0277.  Runs  in  90 


-(LINOTYPE   ')- 


8  POINT  CLASSIC  with  ITALIC  and  SMALL  CAPS 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC 
DESIGN?  WHY  DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SP 


How  IS  ONE  to  assess  and  evaluate  a  type  face 
in  terms  of  its  esthetic  design?  Wliy  do  the 
pace-makers  in  the  art  of  printing  rave  over 
a  specific  face  of  type?  What  do  they  see  in 
it?  Why  is  it  so  superlatively  pleasant  to  their 
eyes  ?  Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design  is, 
partly,  its  excellent  practical  fitness  to  per- 
form its  work.  It  has  a  "heft"  and  balance  in 
all  of  its  parts  just  right  for  its  size,  as  any 
good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  ex- 
actly the  work  that  the  chair  has  to  do,  neither 
clumsy  and  thick,  nor  "skinny"  and  weak,  no 
waste  of  material  and  no  lack  of  strength. 
And,  beyond  that,  the  chair  may  have  been 
made  by  a  man  who  worked  out  in  it  his  sense 
of  fine  shapes  and  curves  and  proportions:  it 
How  is  one  to  assess  and  evaluate  a  type  face 
in  terms  of  its  esthetic  design?   Why  do  the 

(solid) 


How  IS  ONE  to  assess  and  evaluate  a  type  face 
in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over 
a  specific  face  of  type?  What  do  they  see  in 
it?  Why  is  it  so  superlatively  pleasant  to  their 
eyes  ?  Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design  is, 
partly,  its  excellent  practical  fitness  to  per- 
form its  work.  It  has  a  "heft"  and  balance  in 
all  of  its  parts  just  right  for  its  size,  as  any 
good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicely  to  the  right  size  to  do  ex- 
actly the  work  that  the  chair  has  to  do,  neither 
clumsy  and  thick,  nor  "skinny"  and  weak,  no 
waste  of  material  and  no  lack  of  strength. 
And,  beyond  that,  the  chair  may  have  been 
made  by  a  man  who  worked  out  in  it  his  sense 
of  fine  shapes  and  curves  and  proportions:  it 

( one  point  leaded) 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ABCDEFGHIJ  KLMNOPQRSTUVW.XYZ& 

abcdefghijklmnopqrstuvwxyz 

abcdefghijklmnopqrstuvwxyz 
12345  (S£,.:;'-'?!*ti:§':fiflffffiffl)  67890 
12345  ($£,. : ;'-'  ? !  fiflffffiffl)  67890 

Matrix  lujormatian  :  SA^f*.  Lower  case  alphabet,  114  points.  Figures.  .0622;  comma,  period  and  thin  space.  .0311.  Runs  in  90 
channel  niaga/ine.  ("ode  word.  JAOM. 


1073  a 


10  POINT  CLASSIC  uitb  ITALIC  and  SMALL  CAPS 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ES 

How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why  do  the 
pace-mai<ers  in  the  art  of  printing  rave  over  a  specific  face  of  type  ?  What  do  they  see  in 
it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always  practical 
design.  And  what  they  see  in  a  good  type  design  is.  partly,  its  excellent  practical  fitness 
to  perform  its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size, 
as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely  to  the  right  size  to 
do  exactly  the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick,  nor  "skinny"  and 
weak,  no  waste  of  material  and  no  lack  of  strength.  And,  beyond  that,  the  chair  may 
Hoiv  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design  ?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type  ?  What  do  they  see  in 

./;>w  f"<,l  l,;,J.;l, 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHUKLMNOPQRSTUVWXYZ& 

ABCDEFGHIj  KLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyz 

ahcdefghijklmnopqrstuvn'xyz 
12345  ($£,.:  ;'-'?!*tt§11fiflffffiffl)  67890 
12345  ($£,.:;'-'?!         ]]fiflftffiffl)  67890 


Matrix  hijannatiint :  lOA-J.  I.nwer  c; 
.liamiel  iii.iK^t^in.-.  I'..<ie  w..r(i.  JAI'Y. 


nlpli.ihet.  l.M  !>iiints.  I-'iKiir 


1(1  lliiii  ^imce.  .n,14S.  Rum  in  90 


-(LINOTYPE     )- 


12  POINT  CLASSIC  with  ITALIC  and  SMALL  CAPS 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN 

How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific 
face  of  type  ?  What  do  they  see  in  it  ?  Why  is  it  so  superlatively  pleasant 
to  their  eyes  ?  Good  design  is  always  practical  design.  And  what  they  see 
in  a  good  type  design  is,  partly,  its  excellent  practical  fitness  to  perform 
its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made  nicely 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific 

ABCDEFGHIJ  KLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ABCDEFGHIJ  KLMNOPQRSTUV\VXYZ& 
abcdefghijklmnopqrstuvwxyz 
abcdefghijklmnopqrstuvwxyz 

12345  ($£,.:;'-'?!-nt§!|fiflffffiffl)  67890 
12345  ($£,.:;'-'?!  t^     fiflffffiffl)  67890 


Miiliiv   lH\.:rnuili.ni     \1 
ihaiiiicl  iiiaga/iiif.  (/udc 


.ill.lial.i-t.   1  = 


l-ii;ur<->.   .(I'lii 


,.r.l,  }.\QA. 


1073  b 


8  POINT  CLASSIC  with  CENTURY  BOLD 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC 
How  is  one  to  assess  and  evaluate  a  type  face  How  is  one  to  assess  and  evaluate  a  type  face 
in  terms  of  its  esthetic  design?  Why  do  the  in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  pace-makers  in  the  art  of  printing  rave  over 
How  is  one  to  assess  and  evaluate  a  type  face  How  is  one  to  assess  and  evaluate  a  type  face 
in  terms  of  its  esthetic  design?  Why  do  the       ;     ^^^^^  ^^  j^^  ^^jj^^^j^  ^^^j      ,  ^^     ^^  j^^ 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyz 

abcdefghijklmnopqrstuvwxyz 
12345  (S£,.:;'-'?!*ti:^1ififlfffriffl)  67890 
12345  ($£,.:;'-'?  !*tt§TIfiflffflSffl)  67890 

Matrix  Information :  8A108.  L()\ver  case  alphabet,  11?  points.  Figures.  .0622;  comma,  period  and  thin  space.  .0311.  Rinis  in  90 
channel  niaKa/ine.  f'ode  \vr)rd.  JASI. 

C      LINOTYPE    0 

10  POINT  CLASSIC  with  CENTURY  BOLD 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do 
they  see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  al- 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific  face  of  type?  What  do 

I  l7i'i'  fi""l  li-adrJ  ' 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyz 

abcdefghijklmnopqrstuvwxyz 
12345  ($£,.:  ;'-'?!*tt§^fiflffffiffl)  67890 
12345  ($£,.:;'-'?  !*tt§Pflffffiffl)  67890 

Matrix  htformatiun :  10A86.  Lower  case  alphabet.  132  points.  Figures.  .0692;  connna.  period  and  thin  space.  .0.146.  Runs  in  90 
channel  maKa/ine.  Code  word.  JATO. 

(LINOTYPE    0 

12  POINT  CLASSIC  with  CENTURY  BOLD 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic 
design?  Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a 
specific  face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superla- 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic 
design?  Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a 

,t-.v.:  foiiit  Ira.lrJi 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyz 

abcdefghijklmnopqrstuvwxyz 
12345  ($£,.: ;'-'?!*t|§JIfiflffffiffl)  67890 
12345  ($£,.:  ;'-'?!*tt§pflffffiffl)  67890 

Matrix  hijormation :  12A58.  Lower  case  alphabet.  158  points.  Figures.  .083;  connna,  pericjd  and  thin  space.  .0415.  Runs  in  90 
channel  maga/ine.  Code  word.  JAUN. 


1074 


14  POINT  CLASSIC  with  CENTURY  BOLD 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  F 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of 
its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of 
printing  rave  over  a  specific  face  of  type?  What  do  they 
see  in  it?  Why  is  it  so  superlatively  pleasant  to  their  eyes? 
Good  design  is  always  practical  design.  And  what  they  see 
in  a  good  type  design  is,  partly,  its  excellent  practical  fit- 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of 
its  esthetic  design?  Why  do  the  pace-makers  in  the  art  of 


f /;.',.  t',.uit  h-a,l.-,ll 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyz 
abcdefghijklmnopqrstuvwxyz 

12345  ($£,.: ;'-7!*n§llfiflffffiffl)  67890 
12345  ($£,.:;*-'?!  n§11fiflft'ffiffl)  67890 

Matrix  hih'i-miniuii     HA-'i.   I.^iucr  last-  al|>h.il.i-l .    I'M   iimihI,.    Im-in<-,.    (I'n.X;  i.nniii.L.   lifiM.I  ati.l  lliin   -paic.   .II-4S4.   Kiiiis  in  90 
cliaiiiiel  niav;a/ii.i-.  (  ...k-  w.r.\.  }.\IV. 

(      LINOTYPE   O 


18  POINT  CLASSIC  ITALIC 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A 
How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace-mak- 
ers in  the  art  of  printing  rave  over  a  specific  face  of 
type?  What  do  they  see  in  it?  Why  is  it  so  superla- 
tively pleasant  to  their  eyes?  Good  design  is  al- 
ways practical  design.  And  what  they  see  in  a 
good  type  design  ts,  partly,  its  excellent  practical 
fitness  to  perform  its  work.  It  has  a  *''heff'  and  bal- 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyz 

12345  ($,.:;'-'?!fiflffmffi)  67890 


matrix  Iiiiiirmalioit     ISAl-'V.  la.uti   laM.'  aliihaht-t.  , 


1075 


ANTIQUE  CONDENSED 

18  Point 

HEADS.  The  quick  brown  fox  jumps  over  the  lazy  dog. 
Linotype.  How  is  one  to  assess  and  evaluate  a  ty  1234 

Matrix  lujonnatiun  :  18A3S.  Lower  case  alphaliet,  210  p<iiiits.   Figures.  .1107.  Runs  in  VO  channel  niaKa/iiie.  (ode  word.  IGMO. 

ANTIQUE  EXTRA  CONDENSED 

THE  QUICK  BROWN  FOX  JUMPS  OVER  THE  LAZY  DOG.  LINOTYPE.  HOW 
IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  1234 

Matrix  Information  :  2()A^-  Caps,  figures  and  points  only.  Figures,  .0761.  Runs  in  90  channel  inaKazine.  Code  word,  IGNU. 

CAPTION 

THE  OUICK  BROWN  FOX  JUMPS  OVER  THE  LAZY  DOG.  LINOT 
HOW  18  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  1234 

Matrix  Information :  24A23.  Caps,  figures  and  points  only.   Figures,  .1107.   Runs  in  90  channel  magazine.  .Special  alignment. 
Code  word.  INWY. 

.TO  I'oint 

THE  OUICK  BROWN  FOX  JUMPS  OVER  THE  LAZY  DO 
LINOTYPE.  HOW  IS  ONE  TO  ASSESS  AND  EVAL 1234 

Matrix  hijormatinn  :  .lOA-^.  Caps,  figures  and  points  rnily.   Figures.  .112  or  .12.3.   Kuns  in  90  channel  magazine.   Code  word. 
INXA. 

HEADS.  The  quick  browD  fox  jomps  over  the  lo 
dog.  Linotype.  How  is  ooe  to  assess  and  e  M 

Matrix  Injm  unit  ion  :  Mj/\h.   Lower  case  alphabet,  224  points.    Figures.  .1]J  or  .150.   Runs  in  'j^O  channel   inaga/ine.   Code  word, 
INYF. 

THE  QUICK  BROWN  FOX  JWS  OVER 
THE  LAZY  DOG.  LINOTYPE.  HOW  1234 

Matrix  Iiijoi  iiiatu'ii     42A--3.  (  aps.  figures  and  p-unls  only.    I-igures.   Abf,.    Runs  in  72  channel  niaga/ine;  also  i.ap>  and  Iigures 
in  34  channel  auxiliary  magazine.  Smallest  slug  on  which  this  face  will  cast  is  36  point.  Code  word.  INZE. 


1076 


CLEARFACE  BOLD  ivitb  ITALIC 

14  Point 

HEADS.  The  quick  brown  fox  jumps  over  the  lazy  dog.  Lino 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  1234 

HEADS.  The  quick  brown  fox  jumps  over  the  lazy  dog.  Lino 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  1234 

Matrix  Infinimilioii :  14A1-IX.  l-nui-r  case  alphahel.  IXI  ij.iiiil^.   FiKurcs,  .11117:  tc.nuna.  peri.«l  and  tlini  M'ace.  .()?S3.  Hulls  in  'JO 
ilianiiel  iiiaKaxilie.   1^  IwMiit  aliRnnicnt.  <'..(le  u.ird.  JAXT. 


CLEARFACE  BOLD 

IS  ri.iiit 

HEADS.  The  quick  brown  fox  jumps  over  the  laz 
dog.  Linotype.  How  is  one  to  assess  and  eval  1234 

Ahitiir  l,if,nimition  1SA2.1').  I.iiwtT  tase  aliihaliet,  22\  p.iints.  FiKures.  .l.!S3,  K\nis  in  72  ilianiiel  iiiana/inc:  alsn  Inucr  lasc 
in  cap  channels  oi  'Xl  cliamiel  niaga/ine  with  caps  and  tiKlires  in  M  cliannol  aiixili.iry.    I'V  point   aliuttnient.   (\ide  word.  JAWY. 

2A   Point 

HEADS.  The  quick  brown  fox  jumps  o 
the  lazy  dog.  Linotype.  How  is  on  1234 

Matrix  Jiijarmati,,,,^  .Mal'-'V.  l-owcr  case  alplial.el.  .Mi  points.  Figures.  Ai',t',.  Runs  in  72  cliaiinel  iiiai;a/iiie :  also  louer  case, 
except  111  and  w.  in  cap  cliannels  of  'JO  channel  iiiaKa/ine  witli  caps  and  tignres  in  .^4  cliannel  auxiliary  iiiat,'a/ine.  2^  point  aliKn- 
ment.  Code  word.  JAY  P. 


30  Point 


HEADS.  The  quick  brown  fo  12 

M,it)ix  hjformation  .  M\ls\A^.   I.nwer  case  alpluihet.  .137  pmnts.   iMKures.   .2ii7S.   Runs  in  Wide  72  cli.'innel  inaKa/iiie;  als<>  lower 
case  m  (iip  (.lianneK  mi  7J  Lliannel  niaKa/iiu-.  with  caps  ami  timires  in  Wide  34  channel  auxiliary  nia^a/'iiie.   <".ide  word.  JEAK. 


CLEARFACE  BOLD  ITALIC 

IR  Point 

HEADS.  The  quick  brown  fox  jumps  over  the  la 
dog.  Linotype.  How  is  one  to  assess  and  ev  1234 

Matrix  IiiUn-matuni      l,sA-'41.    l-ouer  t.ise  alphaliet.    221  nts,    liKines.    ,  ]  W,i,    Runs    in    7J  iliannel    niaii.i/ me  ;   .ilso   loner    c.ise 

in  call  ch.innels  of  0(1  cli.innel  iiiaKa/ine  witli  c.iiis  aiirl  tiKures  in  .M  channel  auxiliary.   \\)  point   alii;nineiit.   ("..ile  word.  JKAR. 

2A  Point 

HEADS.  The  quick  brown  fox  jumps 
over  the  lazy  dog.  Linotype.  Ho  1234 

Matrix  hifi'riiiatiuii  :  J4A-in.   Lower  case  alphaliel.   -"/4  points.    KiKnres.   .  1 7VK.   Klliiti  in  72  channel  inaKa/inc:  also  lower  case 
ill  cap  channels  of  00  clianiud  ni.iua/tne  with  c.ii>s  .md  tiKlires  in  .34  cli.'innel  atixili.ary.  J.^^  point  alignment.  Code  word.   n-:i-'l.. 


30  Point 


HEADS.  The  quick  brown  f  34 

Matrix  Infoyuiati.'n     30AI47,   1  -wrr  case  alpiiahet.  3^0  i.oints.    Fi^'un-s.   .:213,    Uuns  i,.  Wide  72  ihaniiel  niai;a/ine:  also  lower 
case  in  cap  channels  nj  72  ih.iniie)  matia/iiie  with  caps  and  ligures  in  Wide  34  channel  auxiliary  nian-'i/ine.   (  I'de  word,  JKKS. 


1077 


CASLON  NO.  4 

18  Point 

HEADS.  The  quick  brown  fox  jumps  over  the  laz 
dog.  Linotype.  How  is  one  to  assess  and  eva  1234 

.l/,i/ii.!  hij,n-miiti,ni :  IXAIl?.  I.Dwer  else  aliihril)et.  224  points.  Figures.  ,1107.  \l\n\<  in    Kl  channel  magazine.  Code  word.  IRDE. 

CONDENSED  TITLE  No.  1 

THE  QUICK  BROWN  FOX  JUMPS  OVER  THE  L 
BOG.  LINOTYPE.  HOW  IS  ONE  TO  ASSESS  A 1234 

Matrix  Injormation  :  20A3.  Caps,  figures  and  points  only.  Figures.  .110.  Runs  in  90  channel  magazine.  Code  word.  JOEN. 

DEVINNE  CONDENSED 

.M   I'.iiiil 

HEADS.  The  quick  brown  fox  jumps  over 
the  lazy  dog.  Linotype.  How  is  one  to  1234 

Matrix  Information :  24^157.  Lower  case  alphabet.  265  points.  Figure  1,  .1107;  2  to  0.  .1383.  Runs  in  72  channel  magazine; 
also  lower  case,  except  m  and  w.  in  cap  channels  of  90  channel  magazine,  with  caps  and  figures  in  34  channel  auxiliary  maga- 
zine. Code  word.  Jl'IX. 


30  Point 


HEADS.  The  quick  brown  fox  jum 
over  the  lazy  dog.  Linotype.  H 1234 

Matrix  Information :  30A83.  Lower  case  alphabet.  306  points.   Figures,  .1798.  Runs  in  72  channel  magazine;  also  lower  case, 
except  m  and  w,  in  cap  channels  of  90  channel  magazine  with  caps  and  figures  in  34  channel  auxiliary.  Code  word.  .TI'XA. 

DEVINNE  EXTRA  CONDENSED 

IS   r'nillt 

HEADS.  The  quick  brown  fox  jumps  over  the  lazy  dog.  Linotype.  Ho 
is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  1234 

Matrix  Information :  ISA.^.''.  Lower  case  alpliabet,  164  points.  Figure  1.  .062;  2  to  0.  .079.  Runs  in  90  channel  magazine.  Code 
word.  JUOR. 

24   I'nint 

BEADS.  The  quick  brown  fox  jumps  over  the  lazy  dog. 
Linotype.  How  is  one  to  assess  and  evaluate  a  type  1234 

Matrix  Information  :  24A~7.  Lower  case  alphabet,  200  points.  Figure  1.  .076;  2  to  0.  .104.  Runs  in  90  channel  magazine.  Code 
word.  .TUPE. 

JENSON  CONDENSED 

IR  Point 

HEADS*  The  quick  brown  fox  jumps  over  the  lazy  dog* 
Linotype.  How  is  one  to  assess  and  evaluate  a  type  f  1234 

Matrix  Injormation:  18A53.  Lower  case  alphabet,  191  points.  Figures.  .110.  Runs  in  90  channel  magazine.  Code  word.  LVOV. 


1078 


ELZEVIR  No.  2 


HEADS.  The  quick  brown  fox  jumps  over  the  lazy  do^. 
Linotype.  How  is  one  to  assess  and  evaluate  a  type  fac  1234 

.l/.ini.r  InUtimilll.n,  l.XAll.'.  Ki 'W  er  tavf  .-ilpli/ilii-l.  I'll  pi.iiit^,  I'lKiirc  1,  lli.'i.!:  J  1..  II.  IIM7  Run,  ill  'in  .ll;illii.-l  ni.iK.i/nie. 
Cnile  w.rrl.  JVRI, 

HEADS.  The  quick  brown  fox  jumps  over  t 
lazy  dog.  Linotype.  How  is  one  to  ass  1234 

Matrix  Injoimalixii  _MAX'i.  I,,,ucr  case  al|ilial,i't .  2u2  Imiiils.  I-'ik-inc  ],  .US!;  J  to  (I.  .Ii.i,,  Runs  in  7_'  iliaiinel  inaMa/iiie:  als.i 
lower  case,  except  in.  in  cap  channels  nt  90  cli.-innel  ni.iu'.i/ine  uilli  i.-ips  .iml  timires  in  M  cti;iiittel  auxiliary  ni.aii.a/iiie.  (  i  kIc 
word.   IV SO. 


.1(1  point 


HEADS.  The  quick  brown  fox  jump 
over  the  lazy  dog.  Linotype.  1234 

;l/ii/ri.r  hiUniuati.jii  M)M\.  l.ouer  case  alpli.ilict.  .51(1  iioints.  I-iKine  1.  .(I'«..S;  J  t..  (1.  .JOZn.  Kutis  m  72  cli.iiinfl  iii.ma/iiie ;  also 
cajis.  excejit  C  ami  (  >.  anrl  tiKlires  in  .U  cliannel  ailxiliaiy  inaMa/ine.   ("oile  word.  .n'Tf. 

M,  I'oiiit 

HEADS.  The  quick  brown  fox 
jumps  over  the  lazy  do  1234 

Matrix  Inioniiiitu.ii  3i',/\M-  Lower  case  alph.iliet.  .17^  points.  ri«iire  I.  .11117:  _'  to  II.  .2-('l.  Runs  in  Wide  72  iliannel  inaKa/ine: 
also  lower  case,  excelit  in  and  li.  in  t.ip  ili.innels  ..i  72  .  h.inncl  ni.iK.i/iiie  willi  .  ajis  .nid  tiKiires  in  Wide  !4  c  li.iniiel  .uixiliar.v 
niatiazine.  Code  wnrd.  .TN'l'i  . 

TITLE  No.  1 

l.s  I'oint 

HEADS.  The  quick  brown  fox  jumps  over  the  lazy 
dog.  Linotype.  How  is  one  to  assess  and  eva  1234 

Matrix  laiormatiiin  :  ISAl''''.  Lower  case  .iliili.ihet.  Zl'-^  points.  Fimires.  .11(17.  Rnns  in  'in  channel  iiiaKa/ine.  Cide  word. 
flDTA. 

TITLE  No.  2 

IX    I'olllt 

HEADS.  The  quick  brown  fox  jumps  over  the  laz 
dog.  Linotype.  How  is  one  to  assess  and  ev  1234 

Matiix   Inl.n-matuni      1,><A9.S.    Lower    i.ise    alplial.et.    22'l    poiiils      FiKiires.    .1107.    Runs    in     in    channel    iiiai;.i/inc.    Code    word. 

or)S( ). 

2-4   Point 

HEADS.  The  quick  brown  fox  jumps 
over  the  lazy  dog.  Linotype.  H  1234 

Matrix  hUormatuin  2-)Al-H.  L..wer  .  ..se  .ilijh.dict .  In!  points,  I  iKiires.  .In.i;.  l<„n^  ,,1  72  chaiinel  ni.ik-a/ine  :  .ilso  h.wer  case, 
except  in  ami  w.  in  cat)  channels  ol  nu  ch.innel  in.iKa/ine  with  i.ujs  .nid  h^ntes  111  J-l  channel  auxili.uy.  (ode  w.ird.  ODTU. 


1079 


IONIC  CONDENSED 


HEADS.  The  quick  brown  fox  jumps  over  the  lazy  dog.  Linotype.  How  is  o 
to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design?  Wh  1234 

Matrix  Injormation:  18A287.  Lower  case  alphabet,  146  points.  Figures.  .0761.  Runs  in  90  channel  magazine.  16  point  align- 
ment. Smallest  slue  on  which  this  face  will  cast  is  16  point.  Code  word,  LYEJ. 

24  Point 

HEADS.  The  quick  brown  fox  jumps  over  the  lazy  dog.  Lin 
How  is  one  to  assess  and  evaluate  a  type  face  in  term  1234 

Matrix  Injormation:  24A243.  Lower  case  alphabet,  I8R  points.  Figures.  .0968.  Runs  in  90  channel  magazine.  22  point  align- 
ment. Smallest  slug  on  which  this  face  will  cast  is  21  point.  Code  word,  LYFU. 

30  Point 

HEADS.  The  quick  brown  fox  jumps  over  the  la 
dog.  Linotype.  How  is  one  to  assess  and  ev  1234 

Matrix  Injormation:  -^OAIR-'^-  Lower  case  alphabet,  229  points.  Figures.  .1107.  Runs  in  90  channel  maga/ine.  2^  point  align- 
ment. Smallest  slug  cm  which  this  face  will  cast  is  27  point.  Code  word,  LVGY. 

36  r<iint 

HEADS.  The  quick  brown  fox  jumps  over 
the  lazy  dog.  Linotype.  How  is  one  1 1234 

Matrix  hijcrtnation :  36l\99.  l-owt-r  case  alphaliel.  272  poinls.  l-iyures,  .13S3.  Runs  in  72  channel  magazine;  also  lower  case, 
except  m  and  w.  in  cap  channels  of  90  channel  magazine  with  caps  and  figures  in  34  channel  auxiliary  magazine.  34  point 
alignment.  Smallest  slug  "u  whicli  this  face  will  cast  is  32  point.  Code  word,  I-VIf. 

IONIC  EXTRA  CONDENSED 

if  HE  QUICK  BROWN  FOX  JUMPS  OVE 
THE  LAZY  DOG.  LINOTYPE.  HO  1234 

Matrix  Information :  42A35.  Caps,  figures  and  points  only.  Figures,  .1383.  Runs  in  72  channel  magazine;  also  caps  and  figures 
in  34  channel  auxiliary  magazine.  Smallest  slug  on  which  this  face  will  cast  is  36  point.  Code  word.  ZAJU. 

LIST    OF    CHARACTERS    AVAILABLE    IN    FONT 

ABCDEFGHIJKLMNOPQRSTUVWXYZ 
12345  abcdefghijklmnopqrstuvwxyz  67890 


1080 


LATIN  CONDENSED 


HEADS.  The  quick  brown  lox  jumps  over  ttie  lazy  dog.  Linotype.  How  is  one  to 
assess  and  evaluate  a  type  lace  in  terms  ot  its  esthetic  design?  Why  do  the  1234 

Matrix  hilui  lualiun:  lxA-17.  I.nuti   e.isc  .ih.h.ilicl.  1J3  pciiii^.  KiKiirc-^.  .077.  Runs  m  VO  di.iiiiitl  luaga/ine.  Ci.de  word,  l.VVO. 

THE  QUICK  BROWN  FOX  JUMPS  OVER  THE  LAZY  DOG,  LIN 
HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  1 1234 

,l/.i/iir  liiloniuiti,;,     JIAI.  Caps.  liKurt's  .inil  Tmitils  ,.nly-   I'lKurcs.  .(I'«,.S,   Kuns  in  '«)  ihriiinel  ni.iK.a/iiie.  I'ocle  word.   ZIKEI,. 

THE  QUICK  BROWN  FOX  JUMPS  OVER  THE  LAZY  DOG. 
LINOTYPE.  HOW  IS  ONE  TO  ASSESS  AND  EVALUA 1234 

Matiiv  { Hjt'i  iiiati"u     J4A-.^    Caps.  liRures  and  pnints  nnly.    KiKuies,   .111,   Kuns  in  90  channel  in.iKa/ine.  <'n<le  word,   LYWl'. 

THE  QUICK  mm  FOX  JUMPS  OVER  THE  L 
DOG.  LINOTYPE.  HOVlf  IS  ONE  TO  ASSE 1234 

Mdtn.v   Iiitr'iiiHUuni  :  3(1A''     <  aps.    Iii;nr..-s  and   points  only.    iMRurfs.    .1^.',    \iuui   m   ''0  fli.iniud    nniKa/nn-     l-i^ures   .idvcrlismt; 
layont  or  pi.  Code  word.  I.YXY. 

THE  QUICK  BROWN  FOX  JUMPS  0 12 

Matyi.r  Infi>riiHtti(ni  .  ^6Ay^'^.  ('ap-^,  tiL;ures  and  points  only.   Fit^ures.  .'[r<22.   Runs  in  72  channel  niaga/ine:  also  taps  ;ind  fiyures 
in  -M  channel  auxiliary  nia^.i/iiie.   Sniallt'^t   vlim  mii  \v1ik1i  this  i.,,  e  will  tasi   is  3-1  p-int.  Cod.-  word.   LV/A 


LATIN  EXTRA  CONDENSED 


THE  OUICK 


BROWN  FOX  JOMPS  OVER  THE  LAZY  DOG. 
HOW  IS  ONE  TO  ASSESS  AND  EVALUA  1234 


Maln.i   Iiil,"  "luti.ni  .  ,WA127.  Caps.  I„ 


l-mnrcs.     1  11)7,    Kuns  in  ''O  cliai 


f.   Code  u.ird.  /Iklv 


LATIN  COMPRESSED 


THE  OUICK  BRiN  FOX  JUMPS  OVEB  THE  LAZY  DOG,  LINOT 
HOI  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  1234 

Matiiv  InUntiuUiou     .iOAI''.   Calls.   liKures  and  points  only.    Fiynres.   ,11(J7.    Runs  in  ''11  ih.mnel  inaK-i/nie.   Code   wold.   ZIl.l'I 


1080  a 


METROLITE  No.  4  ITALIC 

24  Point 

HEADS.  The  quick  brown  fox  jumps  over  th 

lozydog.  Linotype.  How  isonetoosses  1234 

ABCDEFGHIJKLMNOPQRSTUVWXYZ 

abcdefghijklmnopqrstuvwxyz  ($,.:;'-'?!) 

Matrix  Infill  mutiuii :  J4A.'-/.  I.'iwer  case  alpllaliet.  J48  imiiils.  iMKure  1.  .l.W.i;  2  to  0.  .166.  Runs  ill  72  channel  inaijazine;  also 
ln\\er  case  in  cap  channels  oi  'Xi  ch;innel  tua^a/ine  with  caps  and  tiRnres  in  ,14  channel  auxiliary  Tnasazine.  Code  word.  ZI^NIV. 

Ill    I'oilll 

HEADS.  The  quick  brown  fox  jumps 
over  the  lazy  dog.  Linotype.  H  1234 

ABCDEFGHIJKLMNOPQRSTUV 
obcdefghijklmnopqrstuvwxyz 

Matrix  htjarmotiou :  30A-47.  Lower  case  alpliabet,  J06  pt)ints.  Figure  1.  .106;  2  to  0,  .2075.  Runs  in  72  channel  magazine;  also 
in  Wi'le  .^4  cliainiel  auxiliary  magazine.  Smallest  sUir  on  wlilch  this  face  will  cast  is  2R  point.  Corle  word.  ZKNFE. 

METROTHIN  No.  4  ITALIC 

24  I'niiU 

HEADS.  The  quick  brown  fox  jumps  over  t 
lazy  dog.  Linotype.  How  is  one  to  ass  1234 

ABCDEFGHIJKLMNOPQRSTUVWXY 

abcdefghijklmnopqrstuvwxyz  ($,.:;-?!) 

Matrix  Injonnation  :  _MAJ2S.  Low  it  case  alphabjt.  J6J  pmiils.  LiKiiie  1,  .I.IK.?;  2  to  0.  .166.  Huns  in  72  channel  magazine;  also 
lower  case,  except  m.  in  cap  channels  of  90  channel  magazine  with  caps  and  figures  in  34  channel  auxiliary  magazine.  Smallest 
slug  on  wliich  this  face  will  cast  is  23  point.  C\ide  word.  ZENDA. 

30  \\->\nX 

HEADS.  The  quick  brown  fox  jum 
over  the  lazy  dog.  Unotype.  H  1234 

A  BCDEFGHIJKLMNOPQRS  TUV 

Mall  IS  lull"  niali.-n  :  .'nA2-4'J.  Li.wer  c;ise  alphal>ft.  .'Id  p<.nlI^.  l-iguie  L  .160;  J  to  U.  .lyJ/.  Runs  in  /-'  channel  maga/ine;  also 
in  Wide  34  ihannel  auxiliary  magazine.  Code  word.  ZKNJU. 


1080  b 


i-aml 


t>y 


Linotype 
DECORATIVE 


MATERIAL 


.iiit  75SL.  755  R  and  755  Ji   (f^ 


The  Decorative  Material  displayed  in  following  pages,  much  of  it  of  distinguished  char- 
acter, is  available,  as  indicated,  in  the  form  of  either  Border  Matrices  or  Matrix  Slides. 
Either  form  provides  a  method  of  unlimited  ccoiioviical  typographic  decoration.  That 
very  method  — the  simple,  easily  handled  slug  — assures  an  economy  of  production  obvi- 
ously unmatched  l)\'  individual  units. 

Linotype's  typographic  decorative  resources  are  rich  indeed  from  the  design  view- 
point. There  is  period  ornament  in  abundance  for  the  traditional  printer  and  typogra- 
pher—authentic decoration  suitable  not  merely  for  such  famed  types  as  (^aslon  Old 
Face,  Janson,  the  Garamonds,  Cloister,  Granjon,  Baskerville  or  Bodoni,  but  for  scores 
of  other  old  style,  transitional  and  modern  faces,  as  well  as  contemporary  styles. 

The  designer  who  prefers  more  contemporary  or  "modern"  typographic  aids  will 
find  a  wealth  of  variety  in  rule  — plain,  parallel,  shaded,  geometric  and  wav\'— to  meet 
his  needs,  as  well  as  a  considerable  amount  of  abstract  ornament  including  braces, 
tapered  dashes,  black  dots,  squares,  triangles,  and  similar  geometric  motifs,  in  many  sizes. 

How  Decorcttmi  Is  Frodiiced  on  the  Linotype 


All  borders,  rules,  dashes,  braces  are  cast  on 
the  Linotype  in  the  same  wav  as  regular  type 
matter  — in  the  same  molds  and  on  the  same 
slug  bodies  as  anv  Linotype  face. 

Two  kinds  of  matrices  arc  used  for  various 
purposes: 

MATRIX  SLIDES,  on  which  the  complete 
rule  or  border  is  punched  or  cut  in  one 
piece  of  brass  the  full  length  of  the  slug 
(up  to  and  including  42  picas),  and 


INDIVIDUAL  BORDER  MATRICES,  which 
carry  a  single  decorative  unit  on  the  matrix 
in  the  same  manner  as  the  individual  char- 
acter is  punched  on  a  matrix. 

No  special  equipment  is  required  to  cast  dec- 
orative material  on  the  Linotype  beyond 
Matrix  Slides,  individual  Border  Matrices, 
and  one  or  two  Alatrix  Slide  Blocks  (in  which 
all  slides  of  the  same  length  are  interchange- 
able), providing  the  [iroper  tillinir  piece  is 


H'lts  oil  Using  Linotype  Decoration 


used.  A  special  matrix  slide  block  is  necessary 
for  matrix  slides  of  i6  to  36  point  size. 

Borders  of  a  giv^en  body  size  require  cor- 
responding mold  adjustment.  Any  border, 
however,  mav  be  cast  on  a  larger  body  than 
its  face  size,  if  desired. 

Design  Duplkatmis 

Throughout  following  pages,  there  will  be 
found  references  to  duplicated  designs  in 
both  Border  Matrices  and  Matrix  Slides.  The 
INDEX  also  shows  at  a  ijlance  which  designs 
are  duplicated  in  both  forms. 

Comparison  of  the  printed  effect  shows 
there  is  no  difference  between  a  border  cast 
from  individual  matrices  and  the  same  design 
cast  from  a  Matrix  Slide.  The  basic  difference 
between  single  units  and  the  solid  matrix  slide 
lies  in  the  co7vbmation  possibilities  of  the  single 
units  with  others  to  form  a  wide  variety  of 
effects.  Thus  a  small  assortment  of  Border 
Matrices  affords  many  interesting  and  effec- 
tive decorative  variations. 

So77ie  Hints  ov  Using  Linotype 
Decoration 

There  are  a  number  of  short-cuts  in  using 
Linotype  decoration  that  have  been  learned 
first-hand  by  experienced  typographers  and 
printers.  The  following  suggestions  of  use 
are  included  for  the  helpfulness  they  will 
afford  to  \'ounger  men  and  women. 

THE  SIMPLE  "box":  Single  mitered  borders 
are  traditional.  They  are  cut  to  the  outside 
dimensions  of  the  box  and  go  together  in  the 
fashion  shown  below: 

Borders  more  intricate  in  design  frequently 


cannot  be  mitered  through  the  design  with- 
out destroying  the  effect  of  the  pattern.  In 
such  instances,  a  corner  iiiatrix  is  provided,  or 
a  corner  is  cut  on  the  matrix  slide.  The  cast 
slugs  are  then  made  up  with  lapped  corners. 
This  method  also  avoids  the  slight  difficulties 
of  justification  to  make  mitered  corners  close 
tight  and  square  in  locking  up.  This  shows 
the  lapped  corner: 


When  a  corner  matrix  unit  is  used  with  re- 
peating border  units,  that  corner  is  cast  on 
the  end  of  a  slug  and  slugs  are  put  together 
as  shown  above  and  here: 


BSllsSO^B^l^^  50 


jnuiBs^jKJjjyjByiK^SlJP  1 

i 

I 

1 

I 

a 

5 

Ismsiiinffintiiraini  u  \ 

A  border  like  this  requires  one  unit  only, 
facing  to  the  right.  But  it  is  sometimes  desir- 
able to  make  a  combination  with  both  left 
and  right  cornerpieces.  Therefore  most  Lino- 
type cornerpieces  are  designed  facing  each 

BUILT-UP  BORDERS:  A  most  effective  use 
of  border  material  lies  in  combining  two  or 
more  designs  through  the  placing  of  slugs 
parallel  to  each  other,  as  in  the  opposite  il- 
lustration of  a  built-up  border. The  require- 
ments of  good  design  frequently  make  it 
necessary  to  support  or  reinforce  a  given 
border  by  combinations  of  lines  or  decora- 
tion on  either  side  of  it.  This  merely  involves 
choosing  the  proper  rule  matrix  slides  and 


1082 


Bnilt-U p  Borders  and  Detached  Ornaviems 


0000000000000000000000( 


(a 
i'. 

(A 
P 


P 

CI 
^1, 


Here,  for  example,  the  following 
matrix  sliiics  and  border  matrices 
were  utilized,  reading  from  the  out- 
side of  the  border  to  the  inside: 


3  Ft.  Matrix 
Slide  No.  2>\ 


6  I't.  Bonier 

Matrices  G-42. 

G-43  L  &•  K 


ooooooooooooooooooooooooo  )\ 


oooooooooooo 
8  rt.  Matrix 
Slide  Xi.    Kinl 


Any  such  combination  of  units  to 
make  a  border  is  the  result  of  a  defi- 
nite plan,  rather  than  the  haphaz- 
ard, or  accidental,  combining  of 
cast  slugs.  The  illustration  below 
shows  precisch'  how  this  border 
was  planned.  Proof  sheets  of  ma- 
terial were  cut  and  pasteti  to  visual- 
ize the  completed  effect: 


,  ^pt  ^'  T-Tl 


lapGcoooooooooooooroooocoo 


■  G-*'5  l-*R. 


%  u-t- 


(i.l>+ 


ihOt 


-4L 


oooooooooooooooooooooooooooo 


oooooooooo 


§]) 

i]) 
i]) 


l^\^^^>\i^\^\^!i^^\^\i^\^\^\i^\i^\i^\^l^ 


making  up  rule  and  border  slug.s  together. 
The  most  elaborate  decorative  borders  are 
merely  a  matter  ofcarefu  I  planning  and  fitting. 
In  a  combined  border  of  this  character,  the 
first  step  in  the  layout  is  to  make  the  units  of 
repeating  squares  fit,  without  a  break  or  frac- 
tion of  a  unit.  The  pica  rule  renders  first  aid 
to  the  computation.  In  this  border  the  inside 
units  are  1 2  points,  with  6  point  corners.  The 
outer  rule  occupies  6  points  all  around  or  one 
pica  total  width  and  Icn<4th  outside  the  inner 
decoration. 

Any  row  of  the  12  point  units  will  be  an 
even  number  of  picas  long.  Therefore,  adtl- 
ing  one  pica  for  the  outer  rule,  we  know  this 
border  can  be  m;ulc  up  to  an\'  dimension  ex- 
pressed in  an  c\cn  numl)cr  of  picas.  The  inner 


member  of  the  border  is  adaptable  to  pracri- 
callv  an\  measure. 


iP 


DETACHED,  OKI'  RK  I,  OR  NAM  K  NTS:  lMan\ 
Linotype  border  designs  are  useful  to  make  a 
single  decorative  spot.  Used  singly,  such 
spots  vary  from  the  tiny  dot  of  a  5/2  point 
character  to  the  important  note  of  a  36-point 
unit  of  design. 

In  this  instance,  the  combination  of  ma- 
terial has  remarkable  possibilities.  The  free 
ornament  below  is  made  up  of  border  units 
so  arranged  as  to  produce  an  harmonious  and 
unified  decorative  spot. 

These  free  ornaments  were  oroanized  in 
layout  in  much  the  same  manner  as  the  pre- 
liminary design  for  the  adjacent  combination 
border,  as  ma\   be  noticed  by  the  reproduc- 

tion  of  a  portion  t)f  this  knout  below.  (This 
t\pe  of  decoration  is  termed  "free"  because 
it  is  not  attached  to  the  border  or  structural 
part  of  the  page.  The  term  applies  to  archi- 
tectiual  and  tvpographical  ornament  under 
exactly  sinnlar  conditions.) 


^mSm  ^^- 


p-r  is-o  ^. 


1083 


Diaper  Patterns  from  Linotype  Border  Matrices 


^^\  ^/k A^  f^°^\  ^mc-iK^  F^ 


/c^  /tjQJO^^  Ci\l/c^  >^VI/^ 

^^  ^/k3i(¥^  7"^°^^  ^mcoK^  F^ 


6^>v/0»^^/^^/0v/0\/^K^^S> 


Diaper 

Patterns 

from 

Linotype 

Border 

Matrices 


zdr^.. 


"^"^  :;^Ta^  .§^.  ::^TA2j 


C^T/^  .irSv  T^te 


]) 

]) 
]) 
]) 


¥mmm 

\  WXWrmLWt 


6  Point  (;-42  and  G-431 


3f.  Point  1221  and  1222 


M^^MM^^MM:^. 


18  Point  G-18,  G-19I,  and  G-19R 


1084 


How  Linotype  Matrix  Slides  Are  Used 


A4ATRIX  SLIDES 
AND  BLOCKS 


IJ   I'.nlil    1117(1.  X   ri.illl  (.S'J 


Linotype  mairix  slides  are  made  of 
brass  as  carefulh'  and  accurately  as  single 
character  matrices.  Rule  and  border  designs 
are  punched  or  engraved  throughout  the  en- 
tire length  of  the  slide;  dashes  and  braces  are 
usually  punched  in  the  center  of  any  length 
of  slide  desired,  though  in  some  few  instances 
the  design  is  punched  at  the  right  side  of  the 


slide.  Each  slide  is  complete  in  one  piece,  and 
can  be  used  on  any  standard  Linotype.  No 
special  equipment  is  required  for  their  use, 
except  that  a  matrix  slide  block  must  be  pro- 
vided to  carr\'  the  slides,  which  are  inter- 
changeable in  the  block  and  ma\'  be  substi- 
tuted one  for  another  at  will. 

With  one  block  and  an  assortment  of 
slides,  rules  and  borders  in  great  variet\'  can 
be  cast  in  lengths  up  to  30  ems  without  ob- 
trusive joints  or  breaks. 

This  material  is  an  excellent  substitute  for 
expensive  brass,  and  its  use  will  result  in  im- 
mense saving  in  any  office.  Its  cost  is  merely 
the  price  of  Linotype  metal,  and  it  may  be 
cast  at  odd  times  when  the  machine  is  not  em- 
ployed and  would  otherwise  be  standing  idle. 
A  liberal  quantity  of  decorative  material, 
therefore,  may  always  be  kept  on  hand  for 
emergencies  at  trifling  expense.  It  can  be  cut 
up  as  desired  and  used  lavishly  as  needed. 
There  is  no  waste,  since  the  material  is  all  re- 


turned to  the  metal  pot  for  recasting  in  due 
course,  and  the  item  of  distribution  is  wholly 
and  completely  eliminated. 

Standard  mid  Slxrial  Slides 

All  Matrix  Slides  with  ornamental  designs 
will  cast  the  design  in  the  center  of  the  area 
of  the  indicated  bod\'  size. 

Plain  or  decorative  rule  designs  designated 
as  2,  3,  or  4  point  will  cast  on  the  constant  or 
smooth  edge  of  the  slug  (at  the  top  of  the 
line,  not  in  the  center  of  the  bod\). 

SPECIAL  POSI  rioxiNc;:  When  slides  are 
ordered  with  the  design  in  an\  other  than 
standard  position,  the  price  will  be  double 
that  of  standard  slides. 

PROPRIETARY  OR  SPECIAL  DESIGNS:  Will 
be  made  on  special  order,  and  prices  will  be 
quoted  on  request.  The  cost  will  be  based  on 
tiie  character  of  the  design. 

How  Linotype  Matrix  Slides 

Are  Used 

The  matrix  slide  ( A )  is  inserted  in  the  slot  in 
the  matrix  slide  I)lock  (B)  and  the  whole  is 
placed  in  the  first  eleva- 
tor jaws  of  the  Linotype. 
By  locking  the  transfer 
lever,  the  machine  can 
be  run  automatically  and 
will  cast  an\'  number  of 
slugs  from  the  same  slide. 
Curves  or  corners  on 
both  ends  of  the  slide  are  not  essential  to 
make  a  complete  enclosing  border.  W'c  illus- 
trate the  methf)d  of  using  border  slides  with 
a  corner  on  one  end  only  ( piige  10S2).  The 
corner  may  be  on  either  end  of  the  slide.  It  is 
absoluteh'  necessar\-,  however,  in  thus  mak- 
ing an  enclosing  border  that  the  l)od\-  of  the 
slug  be  the  same  as  the  bodx-  of  the  slide  used. 
Thus,  a  6-point  slide  must  be  cast  on  a  6-point 
slug;  a  lo-point  slide  must  be  cast  on  a  10- 
point  slug;  a  i  :-point  slide  must  be  cast  on  a 
12-point  slug,  and  so  on. 

SLIDES  W  ITH  CORNERS  Al"  EACH  END: 
Most  matrix  slides  shown  on  page  1119  and 


1085 


Suggestions  for  Ordering 


following  pages  with  a  corner  at  one  end,  can 
be  furnished  with  corners  at  both  ends,  if 
desired.  Prices  for  these  vary  according  to 
the  design,  length  of  slide,  etc.,  and  will  be 
quoted  upon  application. 

MATRIX  SLIDE  BLANKS:  To  cast  slugs  from 
matrix  slides  shorter  than  30  ems  with  a  30- 
em  matrix  slide  block,  it  is  necessary  to  fill 
out  the  remainder  of  the  space  in  the  block 
with  matrix  slide  blanks  or  filling  pieces. 
Thus,  to  use  a  i  3 -em  slide  in  a  30-em  block 
place  a  17-em  filling  piece  on  one  end,  or 
8 '4 -em  filling  pieces  at  either  end,  depending 
on  whether  slide  design  is  desired  at  the  end 
or  in  the  center  of  a  30-em  slug. 

Suggestions  for  Ordering 

Linotype  Border  Matrices  and  Alatrix  Slides 
should  be  ordered  with  the  exact  descriptions 
which  accompan\'  the  specimen  shown  in 
this  book.  In  addition,  it  is  necessary  to  state 
qjiantity  desired.  (Remember  that  sufficient 
matrices  must  be  provided  to  produce  the 
length  of  line  desired.) 

It  should  be  noted  that  though  man\  bor- 


der matrix  designs  are  duplicated  in  matrix 
slides,  this  is  not  the  case  in  every  design.  As 
separate  units,  border  matrices  may  be  com- 
bined for  variety  of  arrangement,  as  illus- 
trated with  many  of  the  design  combinations 
on  following  pages.  The  Matrix  Slide,  how- 
ever, is  a  fixed  imit,  and  a  slug  cast  from  it  is 
adjustable  only  in  length. 

All  Border  Matrices  ivhicb  are  duplicated  in 
Matrix  Slides  (and  vice  versa)  are  shown 
with  the  notation  indicating  the  number  of 
the  slide  (and  border  matrix)  which  dupli- 
cates the  design.  For  example: 

6  Point  140  (See  also  M.ntrix  Slide  1460) 
6  Point  1460 

:o:»::«:«:«s>::«:<eo>n«:o:j«:o::<«:«»::«!«:«!«:o::«:«:<>::o::o^ 

^pe  ;iUci  lionler  Matrix  140 

In  addition  the  duplicated  designs  in  both 
Border  A  lattices  and  Matrix  Slides  are  indi- 
cated in  the  INDEX. 

Unless  this  line  appears  under  a  specimen 
do  not  order  a  Aiatrix  Slide  (or  Border  Ma- 
trix) of  that  design.  These  suggestions  are  in- 
tended to  obviate  any  source  of  confusion 
in  ordering  Decorative  Alaterial. 


36  Point  G-2,-iL,  G-23R;  24  Point  G-20L.  G-20R, 
G-21L.  G-21R;  12  Point  G-50L,  G-SOR.  G-51I.  and  G-51  R. 


1086 


^f<]  iH^hi  oi^fa  i>i-^f<]  Hr^hi  Hid  H-^hi  Hhi  [>i^f<]  H^hi  H^h<i  oi^hi  [>i^ 


^ 

X 
^ 

5 


X 


5 


BORDER  MATRICES 


I07J.  1(174  1,  and  1074  R 


■^fo  H^hi  [>i^f<]  [>i^f<i  Di-^fo  Difo  i>i-^f<]  [>if<]  [H^f<]  Di^fa  [>i^f<]  I>i^f  0  Di^ 


ABSTRACT  FLORETS 

Jl"  Here  is  Lrisp,  nitn!eni  (IftuKitioii  in  biighlfii  conu-iiiporrtry  print- 
\[  ing.  Abstract  in  form,  and  useful  with  pracrieally  any  face  old 
style,  modern,  sans  serif  or  flat  serif.  Designed  for  Linotype  ex- 
clusivelv  and  avuilabk'   in  additional   point  si/es  i»n  order. 


10  r<inil    I  MIS 


^ 


12  I'oinI   1MI7 


12  I'.. lilt   K.ilN 


12  I'oiiU  Ui(l') 
12  I'diiil    IM(I 

III  r,,iiit  ii.iii 

12  roiiU   161  I 
12   I'liint   lf)12 

in  I'dim  lfii2 

PERIOD  DESIGN 

Border  Matrices 


36  Point  1214h 


18  Point  76-1 


^  ^,    .4^    ^    «^     ^    ^    4^     4^    ^, 

^         ^'   ^'   ^   ^   ■>f^   ^   <g^   ^'   ^ 


^^h  ^^W^^W^^^h^^/ 


n 


M<  Point    I  JISli 

(^^     'r»aS»5     (^^^     (^1^     (^1^ 
^V^  cS^Yjjf/^  cV^Y^  ^^  ^P^ 


4j^     1209b 


./*5^  ./*5^  ./f&%\^  ^cS^  ./*S%\. 


J 


<?^iii^*  .?^?ij^  .?^ili^*  .?%li^  ii^j^f 


1087 


Border  Matrices  ■  linotype  decorative  material 


'i^'^W  W^l^^  ^/^^  W^K^  v/^i^^ 
^/^    O^I/f!)    (?^I/f^    ^\/^    ^I/f!) 

36  Point 


-?5*5-  -:*5*^  ^'^  ^<^  ^'^ 


fe    IC*'^ 


.ii-^Jilfc-i' 


i:T^i  icT:!  icT^i  icT^I  KlTi 


T 


36  Point 


4 


'(     1218b 


i^iv^  <v44v»  <v4lv»         w4^v>         'V^Jv* 

)int 


1220     &y^ 


e 


:s^TAr:s^T/>^:s!\T/;5::s^!^ 


^,''  ™P'  c^^i")  "llP'  '^i^^i'  "W'  '^i^^i' 

36  Point 


<^     ^         ^         ^ 


^P'^ro^C^ 


■jSB. «» •?»»■  'i^Loz^t^  "s^Ipz^m  i^lfil^tt  T«^"i^*r 

?^f*^   f^^   ?^^  ?^^   r^^ 

36  Point 


1r^ 


t../4fV^  tVv\^  t.<^V^  <^.^^<fV^  t^/^>»V^ 

^^   ^    ^^   ^^   ^^ 


f6  Fciril 
1211-4 


Eo<s;^^^^s^s^^s^^^^<s:^^bS 


i 


(S:i^« 


1063;^! 


P9 
bd 


«^b»  t*^ft     Hj>t     T^A^     ntx    *<£>^    f«l»*    r«A>*     •4A>*    r«ft>*    rtA>*    •^^fv    r^ft^v    *<A>*    M^M 

^MW  wy  VMW  vvw  vw  vw  vw  vw  \w  w/  WW/  vw  vvir//  vw  vvw 

•<f>*  •ifi*  •<*>•  •<*>»  •<*>*  •<*>  •<?>*  •<?>•  *<f >*  •<?>*  »<*>*  ♦<*>*  **»>•  •<?>♦  •<*>• 

18  Point  720 


1088 


.iNOTYPE  DECORATIVE  MATERIAL  •  Bordcr  MatricL's 


W^^^MWMw 


120S'4 


*;   !  ]<  G  2  1.      G  2  K  G-l  I. 


^¥^i^ 


^^^^^s;5?^c^^S^^J^|^>t^:^iji;;>) 


^ 


i:  I'.MTit  r;-57  L 


1-'  I'liiiit 

G-49K  G-4,"  r,-4yl, 

1.'  IV.ii.t 

IJ  I'.. lilt 


<;  roim 
(;-42  0-43  L  c;-4.ii< 

^^  (3  9 

SiSSI3HSIdiSHSS&0S&0S       R)5fi1S)5i(SBC5ififi)5)Sft)5fi 

6  Point 
C;-4JK  G-4.1I, 

6  I'oint 
G-29K  G-30  G-2yL 

0  I'oinl 
G-J3R  G-34  G-33I. 


/<s:i.J>(S 


G  I'oint 
G-35R  G-36  G-j;i, 

6  I'oint 
G-9  G-10  G-llL  G-UK 


SSSs=SS5=SSSs=5SS=SSSs=SS5==«2 

6  Point 
G-39  ('.-40  G-41 


^^ 


6  Point 
G-45 


6  I'oint 
G-I2R  G-13 


12  Point  G-7r, 


12  Point 
G-59  G-f)0 


<c@^<S:^<@^^<:S>cS^ 


G-4R  G-5U        G.?l.  G^I, 


<^         «!< 


?     *S> 


1089 


Border  Matrices  ■  linotype  decorative  material 


12  Point 
G-5()R  G-5I  K  (',-?i)l. 


^  ,^^^ 


^ 


:2  Point 
G-56  G-54 


^^^  ^ 


IJ  Pc.int 
G-47  G-46I, 


18  Point 
G-MK        ^  ^ 


G.64L 


W.  WW'MWmWMW^ 


24  Point  G-i.S 


'mm 

18  Pc.int 


-(k^  G-70 


rOTvlOr^  »->CUmi<>^  .-^OJaIO^  (.-nDTOOi^  i>CiroOo  .-<Ol^iO<-s  c<U7ia^ 

24  point 


G-7J 


G-74 


G-16L 


G-17R 


t^'^r^sir'STr'^r     '\T/^'\?/''\T>'\T>3?/l* 


IX   I', 

XT, 


^-'^"^*  ^-'^^ 


.i.I5L   •«y 


IS-F'oint  G-18 


:^, 


18  Point 
G-65R     ^^  ^^     G-6SL 


G-M.  U       < 


18  Point 


1090 


LINOTYPE  DECORATIVE  MATERIAL  •  Border  Matrtces 


MsgyYSy  Ms^TT^  \tsEryT^  \t$gTTV 

.'*'^*vic><%  y.»=^^^:i£:>«^  .»*^ivic>*%  .»>^^^ 


75514     WM— . 


^Ji^« -J^ -J^ -K- ^  ^  *  ^ -J^ -«••«- ^  ^ -5^  ^  ^ 


^(^ 


•5«- 


in  Point  223 
See  also  Matrix  Slide  1435 


See  also  MaliiN  Slide  1-184 


IJ  I'.iiin   111)0 


ili  »V  ^>  <>  ^l^  \V  >>  ^l/  >V  vV  ^L>  vl/  \V  rV  »t/  »>  \V  %L> 


M        ¥5 


ar  la  «r  Ttfjtr  Taar  "BTM-  ittar  ittar  Ttfar  tk 


12  I'oiiit 

loci  r.  luGi  R 


►^   ^^^-^^^^^^^-^^^^ 


i„'  r..iiit  11171 


•^f<]  [>i'^f<]  H^hi  [>i^f<]  [>i-^f<]  Di^ 

^  13,..„„t  ^ 

^  1073  1(174  K  11174  1,  ^ 

•^  ^  f<]  [>i  ^ 

f<]  ©ir§  [>if<i  ©IS  [>if<]  ©i!i  HB]  ©J®  oi 

^^  12  I'oiiit  K) 


X 
^ 


IU74H 


070  1074  1. 


S 

S 


i:s     i3Mit3i::ia2ii3 


12  I'.Hiii  iiir,7 


;j  I'.iiiii  I0f,s 


IJ  I'miit 


111.' 7  HIJS 

1I1J4  Kevcrsed  Reversed 


5S*  s^  M      as 


1091 


Border  Matrices  ■  linotype  decorative  material 


49 -A 


>'«>«'«>«>'i^S>'i:«!C 


49 


•H  6  Point  * 

^'  -i:  (\/:  n£  «  ct^  »>  t/:  '^ 


•H 


25 


*  it 


96  96  a  96  b 

*  *  * 

See  also  Matrix  Slide  1426 


2'>         H. 


IS  I'oint  749 


IS  Toint  7?.i 


1.0    rriillt    7=.4 


^umjL^v  ^Sttil^\  ^Wlll^\  ^MU^^i  y  Mlk''\  ^Wil'''\  ^^lllil''\  ^Wlll^\ /My^  ^^Uiil''^ 


IX  point  74S 


iaiiAiiiiiiiiiMiiAfi 


I  J  Toint 
1056 '4  1(156 


See  also  Matrix  Slide  1482 


mmiSMBmmj!55.5MiMiMijyiy5Miyays^^ 

i, 

220 

222 
See  als 

221               221  a 

^      M 

t  Matrix  Slide  1513 

221  li 

1 

^  fi  I'oint  U 

jyj  33  33  b  II 

ill  O  Co 


7  Poiiil  602 

8  Poiill  405 


II     o«s 


llllllllllllllllllllllllllllllllllll 


9  Point  901 


fj  IlllllPSIIIIIIIIflllllllllllll 

10  Point  233 


IX   IV.itU    71V 


720 


^>?  it® 


528  !4 


1092 


LINOTYPE  DECORATIVE  MATERIAL  •  Border  Mati'ices 


^^■v      ^^■^^^■^  ^^p^  ^^B^  ^^B^  ^^w^  /^p^  ^v^  ^v^  ^^^  ^^^  ^^^      ^^^ 


12  I'oiiit  iri5-4ii 


12  I'oiiit  105-1'; 


I 


3-1  Point  S22 


24  Pnint  S„M 


2-4  Toinl  82Kd 


X22      ^ 


IS  Poitll  776 
IS  Pnint  77r,'i  IS  I'oint  ; 

IS  Pomt  777 


IS    Poll 
72.P4  72J 


IS  Point 

72J  723; 


0i 


^^^^§^^^^^^§^^^^^ 


^\(^0j^^  ^^^^OfT;  ,^t4|^,  ^M^k, 


.16  Point  1202 


1093 


Border  Matrices  ■  linotype  decorative  material 


ij  roiiit  inr.nii 


^^ii^m^mm    vi^mm^i^MmM 


•,if^4f*;'^j*>P'(;.  ■,J>JJt^^pf-'  ,>^t|Ai*Ig«j3>i   .^>^l5?JJi'  p^^ 


lOeOK  lOfiOli  1060  i  1060J 


1060^  1060(1  Itir.of  1060".; 

HI     E     ^     m 

1060 i  1060) 


18  Toini  770 


18roint770!4  1  R  Point  770'/, 


18  Point  771  I, 


18  Point  771  R 


fci^J  (o^3  (r>U  (o^3  (^^ 

[O:  p  (fcvrt^  (tvr^  rc\fi^  Tc^,  rfcvi  ^ryr^  ^ri  rey^ 


18  Point  773 


18  Point  774 


.^'  L.:^  ^s  ^M  is 

18  Point  774'/i 


18  Point  774!<S 


18  Point  775 


18  roint  783 


18  PoMil  778 


,.._,       ™ 


18  Point  779 


pTjwfwrlllmTW'^ 


18  Point  7S0 


i!-A« 


18  Point  781 


18  Point  782 

18  Point  784 


12  Point  1069 


M 
^ 

^ 
^ 
^ 
^ 


524  ^i  524  y; 


See  also  Matrix  Slide  I  428  a 


1094 


LINOTYPE    DECORATIVE    MATERIAL    •    Bordcr  MatriCi'S 


■-.  h  22f, 


>    (^    c^    ^)    (^    t^    '^    <W>    t^    '^"Ss    tiS'    t^    '5p    «^    d 

in  Point 
227  228  a  22!<  .'2«  b  229 


24  Pniiit  81-4 


_M  Tniiit  S14i 


^^  L«i^^  tili^'  Tii^^-^  U6 
24  Pnint  SI  4  i 


^1  ^^  l^^l  f^^l  1^-' 


•^^ 


'm^^t^)S'iW^ 


24  Point  814(1 


f-^^  r^l  rS*l  0^^  r^S  r^l  r^l  r^l  r^ 

U^^  ^1%^  ^^1>  ^^1*  "^l*  ^'^'1  ^^1*  ^^1*  ^l1 


24  Point  S14e 


24  Point  H14E 


24  Point  814li 

24   ['omt 

862  8?(r  8?7 


Oi 


24  I'oml 
8S.T  S'lS 


ss 


t  r,  I'oint  f 

I  it 

2;  72>/4               72  a               72  72  h              72/,                ]; 

4  V.           ^>           *  -;-^           Jf             |! 


6  Point  g 


1S7'4 
0 


157 


g  See  also  Matrix  Slide  1372  S 

<^l>  in  Point  «|» 

^H  201  '4              2ni  a             201  201  b             201  Y,             ^2* 

4*  >.      '^'^      4*  4*      1^      «^ 

f.     I'oiTIl    4^ 

"I*  6  Point  i" 

•J*  •?• 

4*  25                   24  a                   24  24  h                   26                    "^ 

•5-  „               ..               .  .^               ,-              •!• 


41  4-  -f 

See  aKc,  Matrix  Sliile  1424 


y^         ^ 

•¥ 


8  I'oinl  ■\Aii 


"^^^ 


<4f@;  ■'^62 


L^; 


^Ml^ 


R^ 


m:^ 


l^^l^Ui 


24  Point 

861  857 


i?M^  ff«^  i^K;^  (^Bjio  iS=^=S  <pX^ 


feS;S* 


i 


24  Point  851 


IS  Point  756 


1095 


Border  Metrics  ■  linotype  decorative  material 


12  roini 
1057  K  1057e 


niiriir iriii iirii m "ill" iinfflimC- 


10  Point  204 


18  Pnint  725 


-%  -'i  -^ 


...    ^: 


i^ 


jV,     «S5 


■%  -^  -0 


1096 


LINOTYPE  DECORAiivE  MATERIAL  •  Bordcr  Matrices 


^^'^ 


^'^^iujfy^ 


r^rw^,^ 


^^ 


"^/Sir^/k 


1 


2A  I'oiiit 
«56  .HSfia 


iilli 


IK  IVmil  75X 


18  Point  758 


GEOMETRIC  DESIGN 

Border  Matrices 


^ 

^ 


K 


^ 
^ 
^ 


^ 


12    I'm 

5.1(1 


^ 


I 


1 

11554 

1.  r.,.,ii 

115'.                          115                           115;, 

i3ii 

n            c            n 

1 

1 

See  also  Matrix  Slide  1386 

J 

I16'4  Uf)'.  116  I16a 

18  n  B  n 

See  also  Matrix  Slide  1  3S2 


114!4 


114/j 


See  also  Matrix  Sliile  13H3 


XKmxvmjtxmxwjvmxfVVm^^^^ 


C  Toiiit 
113^  113a  113  1131,  113;/i 

PS         n         s         H         :i 

See  also  Matrix  Slide  1378 


■v-v-v^rv 

0  r..nit 

"V 

vvw 

< 
< 

:      " 

28  a 

28 

281, 

29                    < 

:      J 

> 

V 

< 

V 

\ 

See  al 

,.  Matrix  Sli 

le 

1773 

< 

6  I '..lilt 


121 
ft. 


122 


See  also  Matrix  Slide  1816 


"«^ 

5'..    l-.iitil 

' 

3(16 

305  a 

3(15 

3(15  li 

306 " ', 

> 

> 

V 

< 

■f 

See  a 

so 

Matrix  Slide 

1822 

6  r'oint 

162!4  162-S  1 

r  

See  also  Matrix  Slide  159 


>)                 74 '4 

74  a 

(. 

74 

74  li 

"7^1 

>>         ^ 

« 

::::;; 

» 

-7             << 

See  als, 

Ma 

tnx  Sli 

le  1717 

>, 

6  I'oint 


a  75  75  li 

(((  S  )» 

See  also  Matrix  Slide  1719 


1097 


Border  Matr?:es  ■  linotype  decorativf,  material 


♦     ♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦ 


10  Poinl  J13 
See  aNo  Matrix  Slide  1604 


O  '  ' <► 

^  210  212  211  211a  2111i  \^ 

$  ♦  ♦  ♦  O  <►  ^ 

\>  See  also  Matrix  Slide  1063  \^ 

X  xxxxxxxxxxzxxxxxxxxxxz 

s  Point  447 


YTTTTTTTTTTTYTTTTTTTTTTTTTTXX^q 

r>  I'oint  ^ 

H 

H 
H 
M 


6314 

K 


63 1 J 


63 

z 


63  a 

H 


See  also  Matrix  Slide  !  ?03 


«tt«:«:::t«t«:::tt::«:::« 


12  I'oiiil  501 


n 


: 


f>  Point  57 
Sec  also  Matrix  Slide  1501 


6  I'oint 
12 


t 


IZ'A  12  12^2 

♦  ♦  ♦  ♦ 

See  also  Matrix  Slide  1318  ^ 

00<><><>0<><><><><><><><><><><><><><><>0 

^  6  r..i„t 

1354  13  WA 

o  o  o 

See  aN.i  Matrix  Slide  1  4.W, 


I 


♦      ♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦ 

^.  I'nint  6 
(Also  made  Dup.  Char.  I  See  also  Matrix  Slide  1317 


1254 

♦ 


\2</, 

♦ 


^AAAAAAAAAAAAAAAAAAAAAAAAAAAAA^ 

<  .i.,-,i„.  ► 

^  101  >i  inia         nil  mil)         101  ;i  ► 

<        \      <      k      >      ^        X- 

^  See  also  Matrix  Slide  1758  ^ 


^^^▼▼▼▼▼▼▼▼▼▼▼▼▼▼▼▼▼▼▼▼▼■^▼■^■^▼^'T^ 


6  Point 

40^               40  a                4(1                40  h  40 '/j 

.                    ►                  ▼                  4  ■ 

See  also  Matrix  Slide  1751 


6  Point  11 
(Also  tiiade  Oup.  Char.  )  See  also  Matrix  Slide  1315 


t.  Point  124 


1  1^1  I 

so  Matrix  Slide  1311         ^  ♦ 


5'/i  Point 

im'A  301  301  J/j 

■(--♦-  -F 

See  also  Matrix  Slide  1312 

/  6  Point 

/  50 '/5  50 

^  See  also  Matrix  Slide  1.507 

r>  Point  2 

31  51  51  a  ^ 


O  *  *«J 

See  also  Matrix  Slide  1506 


:o:  rmmB^x^mmfmmm 


:«   :«:o::o::o:i«»:i«»:i«:o:^soE3K3K3«»:^!«»:»:i«»:»:3>:»:»:»::«i«%( 

fi  Point   140   (See  also  Matrix  Slide  I460I 
6  Point  31   (See  also  Matrix  Slide  14551 


12  Point  515 

6  Point  3  (See  also  Matrix  Slide  1434) 

5^4  Point  303  (.Also  made  Duttlicate  Character) 


otoJoiotoJotoistoJoJoJotolololotolC'tolototolotojoJoJotoJoJo 


1098 


LiNoiYPE  DRcciRATivF,  MATFRiAi.  •  Bordt'r  Mijtrices 


li  r.iitii  1 IX 


M.ilnv  Slide  M- 


See  alsi)  Matrix  Slide  1575 

S   I',, nil 
ini  '/;  401 

■  ■ 

See  alsi]  Matrix  Slide  I  57-4 


See  akn  Matrix  slide  1573 


lit  211')  (See  .iK.i  Matrix  Slide  l.!ll7> 


rrrrrrrrrrrrrr 


'.2  r^.m!   =1' 

i:  I',. lilt  551 

HHHHHHHKlHeiKlHeiH 
HHHHHHHHHHESISHH 


■_■_■  ■  ■  ■ 


[ 


6  Point 
39  "4  .Vi  ,19 '■ 

See  also  Malnx  Slide  14114 


93  !4  93'.  'M 

r  -I  ■- 

See  also  Matrix  Slide  1403 


See  also  Matrix  Slide  1337 


93  a 


I 


1,  I'olTii   7    i>ee  also  Malnx  Sli'le  1304' 
Also  made  as  Two  Letter  Matrix   in  i  cniiliiTial  ion  with   No.   .5 


I.  I'oiTit   lo  iSee  also  .Matrix  Sliile  1303' 


r.  Point  30  iSee  also  Matrix  Slide  145X) 
r,  Point  15  (See  also  Matrix  Slide  14.571 

O    OOOCKDOCOCOCXXXXX)COCOOOOCOOOOOO 

r,  point   5  (See  also  Matrix  Slide  141JI 
.Mso  made  as  Two  Letter  Matrix   m  toinhination  u  ith   No.   7 

o    oooooooooooooooooooooooooooooo 

6  Point  in  (See  also  Matrix  Slide  1431  ) 


1 6  J  J  a 

•  ♦  t 

See  also  Malnx  Slide  I3()K 
0  I'oint  .\o.  2.  also  made  Diiiiliiate  Charaiter 


•     —       _ 

^ 

^       ^       ^       ^ ^       ^       ^       ^ 

^_ 

♦  — • 

1 

5'<:.    F'oinl 

1 

3l)2'i 

302                             M)2yj 

1 

•h 

•  -                                  f 

t 

See 

ilso  .Matrix  Slide  1309 

•  •••■••- 

• 

6 

Point 

•■••■•••••••••••■•..•..• 

• 
• 

M'4 

14;; 

14 

1414 

14  a                  j 

• 

•• 

•• 

••• 

••• 

•                     j 

• 

See  .• 

Iso  M 

itnx  Sli 

le  1310 

I  ntuinunniiuiinnnuu 

I-?  rnini  1031    (Made  a-^  Duplic-iie  (.Iiaracter i 


•    •   •    •   • 


t      t  I  t  I  I  M  t  I  I  M  I  I  t  t  I  I  M  I  M  t  I  I  t  I  t  I 

6  Point  92  a 


See  also  .Matrix  Slide  1353 


1099 


Border  Matricp'^  ■  linotype  decorative  material 


6  Po.nt 

\ 

1I7!4 

UT/i                      117 

117  a                1 

D 

n            □ 

D             1 

See  also  Matrix  Slide  1360 

1 

XXzzzzzzz: 

11 


ii       i 


114 

I 


nc 


n 


ok: 


DC 


12  Point 
501  534  539 


II 


6    I'OHlt 

no  112  111  Ilia 

See  also  Matrix  Slide  1351 
6  Point  No.  111.  also  made  Duplicate  Character 


till 


lll« 


IIM 


IIM 


6  I'oint  151 


3n(       >nc 


6  I'oint  (.  (imlMiiation   liiirdcr  Mair 


152d 

n 


(         1         c 


-MrtM M^M- 


6  Point  Combination  Border  Matrices 

1  .-J  K 


iC 


1 53  d 

o 


153f 


iDiziidinc 


6  Point  I  omlnnation  Horder  .Matrices 


154  1 
I  I 


lS4d  I54e  15411  1541 


□  I IE 


]□[=][=]□£ 


6  I'oim  Coinhiiiation  Border  Matrices 


I 1        E 


155e  15511  155 1 


III 

I 


Dn 


3lO 


"II  in 


=11 in 


lS5d 


a  usasississgJsisiBiiGJSSSsiEiKiiiiisiiasaiiiisiES 

6  Point  76 
12  Point  530 


n 


lir=Jr=J     rEn=I 


U 


HI'S  816'/; 


n 


12  Point  504  (See  also  Matrix  Slide  15851 

K  £fi£fitf;tfi!filfitfi!fi!fitfi!fiifi!fitfi!fitfiifi!fi 


8  Point  4ii4   (See  also  Matrix  Slide  15811 
X  Point  41.1 
r,  P.,int   1,14 


12  Point  .503  (See  also  Matrix  Slide  1584) 


11)  Point  231 


8  Point  403  (See  also  Matrix  Slide  1580) 
6  Point  133 


u  imumsmsu^niiiiiimimumiimmmuimmm 

6  Point  147 


2  I'oin 
542 

4t 


542 '4 


12  I'oint 
542 


542  i-i 
^1 


>ee  also  .Matrix  Slide  I  500  li 


137^ 


137 
9 


1100 


LINOTYPE  DECORATIVE  MATERIAL  •  Border  Matrices 


14yd  Mye 


1491  14ys 


14yh  149i  149)  149  k 

r  -»  '-  -' 


1     t 

<■  \;,u>i 
1 5U  d  I  50  e  1  50  f 

r  -I  •- 

150h  150i  isnj  ISOk 

r  ^  ^  -' 


ISUg 


6  Point 

148  148d  14«e  148f  148g 


□iiiiiiiiiiiii[]iiiiiiiiiiii[:iiiiiiiiiiii[]iiiiiiiiiiii[]iiiiiiiiiiiii[] 

=  141  142  143  E 

i  I  c  ]  = 

—  See  also  Malri>  Slide  1402  = 

I  lllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllll 

'■   I'c.int    14 

6  r.nnt 
1 42       t  ]       1 4  t 

uiiiiiiiiiiiiiiiiiiiiniiiiiiiiiiiiiiiiiiiiniiiiiiiiiiiiiiiiiiiiniiiiiiiiiiiiiiiiiiiicjiiiiiiiiiiiiiiiiiiiic] 

E  6  I'oiiil  = 

=  144                          145  I4(.                                  = 

=  II                        C  ]                              = 

=  See  also  Matrix  Slide  1401                                          = 

II  iiiMiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiimiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiimiiiiKi 

(>  Point   144 

I,  Point 
145        [  3        l-l" 

Hi  ^'  ''"i"'  n 

III  66  a  66  n 
il'i                                    See  also  Matrix  Slide  1616                                      f"! 


IS  Point  7'i7 


12  Point   511 
■2  Pc.int   =.l:-' 


12   PoHO    54'l 


12  I'oiiit  543 


12  Point 
I0I4  1014'; 


n 


See  also  Matrix  Slide  1519 


A/ITSCELLANEOUS 

Border  Matrices 


O     a<K>CH>CHKH>£KH>O<H>iKHCHXHCH>0<^ 

r,  I'oint  S2   ISee  also  Matrix  Slide  I4I51 

6  Point  V7 
(Also  made   lliiii,    I  liar  I    See  also   Matrix   Slide   1416 


^  ^^^^^^^^^^^^^^<^^^>^Y 


^        >i^  >J^  ^  >^  ^^  *  >^  *  ^  ^  ^  >?S^  ^5^  >fii  ^  ^^5^ 

1(1  Point  234 

*  ^^'^^^^^'^'^^^^^'^^'^^'^'^^^^-^^ 

■I  Point  9112 

*  «***«***  iS5  **«****«;  « 

X  Point  406 
7  Point  603 
6  Point  34 

*    ^tHNHjHiHMHjHNf»»  jN^  j|^»  jfBM^  jN^^NeK  »  »■ »  »  » -i^ 

6  Point  79  (Also  made  Duplicate  t'liaracterl 
6  Point  77 

a     S  S 1]  S  U  SI]  [iiUHglgiEiiiiiiKggi  [gig  [*][*)[*] 

S  Point  420 

11    iiiiBiiiKiafflaiBiiiaiiiiiiiiiHaiiiiiiiaiiHiisiiiisisi 

6  Point  43 

•X&  -♦-  -♦-  -♦-   -♦-  -*-  -♦-   ■♦-   .♦.♦.*       *       «       *       »       *       4**4^********** 


6  Point  81    (See  also  Matrix  Slide  1419) 


'}'.  Z^y^'.ZZZt'ZiZiZi^^^^^^^^ 


6  Point  67   (See  also  Matrix  Slide  1522) 


•f       ^♦f^4»*f^»f^*f.f«f,{»^^,f^4«*|. 


*        ********************** 
8  Point  423 


1101 


Border  Matrices  ■  linotype  decorative  material 


'",  I'nint  NS 
lAlso  made  iJup.  Char.)  See  also  Matrix  Slide  1422 

7  PmnI  601    Ol.cde  .i-.  Huplicalc  Character) 
6  Point  01 


6  Point  47 
(Also  made  Duii.  Char.)  See  also  Matri.x  Slide  1523 

''<  Point  .^.>; 
8  Point  402  iSee  also  Matrix  Slide  1423) 
6  Point  46  (See  also  Matrix  Slide  1420) 

6  Point  fi'J 


6  Point  95 


3> 


yi$m$lj:i»i$l$l$l$lj:ij:ij:ij:i$l$l$l$lj:i$lj;ij:ijil»m$l$l»lj:i$lff 


125 


1 26  1  26  h 


127 
It? 


^C  6  Point                                                     1^ 

^              80^4  !io                         soy,              1$ 

I  6  Po.nt                                                          ^J 

*■                   49y,  49                    ^ 

5K  i5?                  ;S 


i 


10  Point  ^ 


^ 


.  Point  1.^9 


20254  ^ 


6  Point  55 
6  Point  00 
6  Point  19;4 


iS      S 


iH]  iHiBiiHHi5i^ii>tiWiHiai«;[HiBif«iBii«iK[giiai«i[HiiH[g[girH:igi[Hi[aiaig 

6  Point  41 
See  also  Matrix  Slide  1429 


»^^ 


12  Point  527 


6  Point 
53  53  a 

See  also  Matrix  Slide  1314 


X                                                         6  I'oint                                                         T 

-                   89/4 

89  3 

89 

89  h 

89  J4 

Y 

See  alsc 

Matrix 

Slide  1468 

Y 

o 
o 

o               61 

inrsif 

62  a 

5? 

6  I'oin 
62 

t 

62  1) 

o 

o 
62^               o 

b        r 

)o 

ff 

o< 

^                ^ 

o 

See  a 

so 

Matrix 

Slide 

1439 

o 

»t  TTT-TTXTTT'T--r-rT--rTTT'r-rTTT 

TTyT-r 

ttt;^ 

►-•                64                65  a 

:::       ^       H 

6  Point 

65                 65 1) 

T                   H 

65^ 
71 

H 

H 
H 

K*  See  also  Matrix  Slide  1467  ^ 

cfc>      c}o(:{o(:bc|3cbc}oc}Dcbcfcc|3(:|D(:bcb(:|3c|D(:bc|3cbc|Dcfcc|Dcfc 
S  Point  419 

^       cfDcfcctclDcfccl:)c|Dc:fDci>c|D<^cfcctcfcctcfcctcl3clDc(Dcfccfcc|Dc:|Dct>c4Dc:fcctcl3cfc 
6  Point  42 

f    iiiiiiiiiiiiiiiiiiiiiiiiii 

14  Point  G-26 
Made  as  Duplicate  Character 

y  iiiiiiiiiiiiiiiiiiiiiiiiiiiiii 

12  Point  G-26 
Made  as  Duiilirate  Character 

/       lliilii-fiiliiiiiiiliiiliiiililiim-l 

10  Point  G-26 
Made  as  Duiilicate  Character 

8  Point  G-26 
.Made  as  Duiilicate  Character 


18  Point  1702 
18  Point  G-27 


CsK9  CsfJ  CsK9  C>^  C*-J)  C^fJ  C^KS  C^K9  CSK9  e~»-J>  C-'fsa  C>~5 

12  Point  G-27 
Made  as  Duplicate  Character 


I  immimmmimmmm 

18  Point  G-28 

I  mmmummmmimm 

12  Point  G-28 
Made  as  Duplicate  Character 


no2 


LINOTYPE    DECORATIVE    MATERIAL    •    BordCT  MatflCeS 


18  Point  7R8 
14  Point  1503 


12  Point  iri92 


II)  Point  2AA 


liiiiiiiiiii 


i     i  i  i  @  i 


IJ  I'oint  5.W 


10  Point  lib 


iiiiiiiiiiiiiii 

9  Point  904 


s  Point  40S 


b  Point  JC) 


^S    ^«1    K^    ^tt)    K^    5^    Ei^ 
!_'  I'oint  S.ir 


^o3    EoJ    ^o3    Ep3 


10  Point  2JS 


y  }'oint  90.i 


®    @®@@@@@®@@®(S)®®ii)@ 

10  Point  2fi4 
S  Point  454 
X  I'oint  425 


X  I'oinl  422 
t;  Point  M 


84  !4 


84  a  84  841)  84 /j 


^  12  I'oint  -^ 

^  511  512  51.!  514  % 

i       ^       ^       1^        i      % 


^•4^4^^^*^^^f*^f4f^i^^f^^f*^/^-*^'^'*^^-^:^^f^-*-^A 


V)'A 


Vt/ 

vt/ 
vt/ 
vt/ 
vt/ 

vt/ 


Mi'/* 


VJ                      19a 

19  1,                      C[ 

>«                        » 

«                        1 

See  also  Matrix  Slide 

1463 

» 

■.   I'.unt 

^^* 

vt/ 
vt/ 
vt/ 

123!/i                   123 

vt/               vl/ 

«                        $ 

^  6  Point  '^ 

.to  O^ 

■"9  851^              85a               85  85b             85!^                    9j 

to  :ti              ^              ^  oV              3)                  oV 


48/. 


©'r^.- 

6  I'oint                                                 :f 

.'f 

H)Vi                                  20                                  2UJ4                    p)j 

;e- 

©                           -^.                           <3                 ?)i 

12  I'oint    1"32 

,<,^  ^  ji-.-i^^  ,»«  ..>i  .««  ,»«  ..<  ,.<  .»«  ..^«  ..•«  ,<  :'*  ..<  ..'«  ..'t.'t 
f  6  Point  ^ 

"*..  59 '/j  59  1ft 


J»  6  Point  5 

J^  22                                                        23  » 

1^  See  aUo  .Malrix  slide  1462  % 

*  6  Point  ^ 
J  22              21  a              21               21  h  23                     J 

♦  i»  4/          *          ;»  ji              J 

^  :.  Point  ^ 

|r  501.                        .507                        508  Ml')                  "^ 

tl  ±*                    Jiy                    mt  1^                ^ 


11109  a  1009  lUU9h  1009' 

^     Vi/     ^     ^^• 


1103 


Border  Matrices  ■  linotype  decorative  material 


8  Point  445 
6  Point  38 


12  Point  591 


K^ 


12  I'oint  585 


12  Point  589 


18  Point  792 


12  Point  inns 


12  Point  588 


12  Point  57.S 


12  Point  577 


12  Point  586 


12  Point  594 


m 


M  1^ 


k-  "«&""  4  f'   "fir     ' 


18  Point 
709 


24  Point 
809 


'm 


M  Point  525 


12  Point  526 


12  Point  inni 


12  Point  1031 


4^     4^4^^^^^^;W^^^^4^;W 

12  Point  573 


»  6  Point                                                             * 

»  m 

*  • 

*  131  131  I.                            * 


"^7^      '^^^^^^'^^^> 


28  Point  1301 


12  Point  529 


36  Point  1201 


in  I',. mi 
214  215a  215  215b  219 

^      %      ^      %      H 

See  also  Mainx  Slide  1777 


10  I'oinl 
214  217a  217  217b  219 

See  also  Matrix  Slide  1776 


10  Point 


214  216a  216  216b  219 

See  also  Matrix  Slide  1775 


10  Point 
214  218a  218  218b  219 

II      €       A       1      « 

See  also  Matrix  Slide  1778 


1104 


LINOTYPE  DECORATIVE  MATERIAL  •  Border  Matrices 


nnnnnnn 


8  I'oiiil 
411  409 


nnnnnnnnnnn 
n 
n 

522  S2()  M 


18  Point 
705  70J 


S  II        ^ 


n 

Sd.i  M 

n 

n  n 

nnnnnnnnnnnnnnnnnnnnnnnn 

MMMMMMMMMMMMMMMMMMMMMMMM 
M  M 

]|  8  Point  12  Pomt  ]| 

M  415  414  532  531  M 


^ 


24  Pn.n,  I 

sns  ,so7  w 

M 


M  1 

MMMMMMMMMMMMMMMMMMMMMMMM 


M  8  Point                                             12  Pnint                              M 

*  412  410                       523                        521                   « 

V  24  I'uinl                              U 

*  IS  Point  * 
W  XdC,                            XIM                     W 

K  :■«      w    :i«     |[     K 


III«III#I#f#IIII 


I 
I 

I 
I 

£ 
I 
I 
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702 


NN       I 


I 
I 
I 
I 
I 
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>*^  >*^  3^  3^  3^  3^  3^  3^  3^  3C^  3Cn  3C^  3C.^  3^  3Cn  >*<?. 


YULETIDE 

Border  Ahtrices 


IX  Point 
797  7'vr,  I. 


^m 


See  also  Matrix  Slnle  2010 


18  Point 
t  797  796  K 


See  also  Matrix  Slide  2009 


CjWTN  CjjSTN  C-««?r\  d- 


-s /-TSBfc? /''iS8«i? /""J^Sk^ 


^m 


<^^ 


1086L      jjj^  '"      """  ^^i?55^     l"«6i< 


See  aNn  Matrix  Slide  10ii7 


P /C^SSkP  (^J^B«i?  <JS8»^ /'^S8«^ /''^S8«^ /^^SSkJXJ 


^^ 


See  aK..  M.iliiv   Slide 


IS  p.. ml   7't^  I,   (See  als..  M  .i  n  ix  Mide  20121 

m  mmmmmmmmm. 

18  Point  795  K   (See  also  Matrix  Slide  2011) 

■■•" m.  - 


no5 


Border  Matrices'  ■  linotype  decorative  material 


IJ  l-Dinl  lO.XSL   (See  alx)  Matrix  SliJe  10U9I 


12  I'Miiil    1lis=,  R    isee  al^o  Matrix  Slide 


12  Point 
lllSSL  1085  K 


5? 

5^ 


^ 


^  -'•■■-'  '^ 

Iff  1085L  I08SR  ^ajk 

18  I'oint  794Vi 
794  i4 


18  Point 

794  i4  794 


•••• 

See  also  Matrix  Slide  2008 


^iOlOlOiOiOidiOiOiOiOIOiOiOlOl^ 


^  10 

See  alsci  Matrix  Slide  1005 


•  •••- 

•  •••• 


12  roiiit  10.S8J4 


JSfM^M^  ^^M^^ 


■1 


IS  I'oint 
729  ;/i  730 


'M      '^.     Mt^.      ^ 


12  Point  10.^7 


m.waw/^ 


See  also  Matrix  Slide  1010 


MK  1035'.,  HUM,  lii.isK  1(136  •^rji 

n    ^   y^sm   i^:   m^    ^* 


.*•  mm.  mm,  mm  mm  m^i^  «r'^  ?»'« 


«^ 


^ 


^       L^       tX>       iXj        <Xi       iXi       1^       iXi       iXi       i^       >^       iXi       i^      i^       1^ 

*.  12  Point 

=fe  1046  1046  a 


12  Point  1047 

^\i/^  o>i/^  ^\i<i.  ^\i/^  ^M/^        ^M/^  ^\/^  ^\i^  ^1-4:.  jvi/^ 


^^1^^^       ^^^^|g 


^\i/<:. 


^^!<i. 


73X 


738  a 

m 


^\"^  ^V/i,  ^V'/y;.  ^M/-::.  ^li:,  ^'/i.  ^M^    <S\f^    vN'/^    \\l<^    vV^    vM/^.    At/-, 


M 


1044 


^ 


1106 


LiNOTYPF",  DECORATIVE  MATERIAL  •  Border  Matrices 


M  1008  lOOSa  tp 

Two-Color  Holly  Borders 


I'onil    I  wo  Icttc 


••    Sfi6"/i 


^^  ^^^^^^^ 


I.'  I', Hill    I  u,.  lellp 


I.'   I'.)iiit    !«.■  leltpl 


1^ --aj  ^^ -ssfc  t5s. -Ts^  sas- ■-«»  ^T-^ar^^ 

IJ  I'diiil    I'u..  Ii-ii 


566!^ 


567)4 


^^ 


12  Point    Tuci-lelle 


•fei  \ei  TS  •^  iss  ■ve;  lie, 


12  I'tiiiil   'I  un-lfllei 
5fi4    .^  ;      ,•    S64I 


12  I'dinl  Twi.  Iclli- 


56S  ^ 


5(.5/. 


e^    T§riS>    TSi  IlS:-  ^S^  'ifi"- 
12  I'.iiiil  Twn  letter 


564  Vi 


5655^2 


-  ^'•AK^r=:  r/'«AV^^ 


36  Point  1223/j 


24  Point  X71  !-i 


1107 


Border  Matrics  •  linotype  decorative  material 


^■?fill^l(/^i'  l(/^i- 1(/^-:-  WJM  KZ^i-  1(/Ji2i-^'^^ 


(W^^%' 


?!*.l 


'^S^'J^S^S^ 


M  Point 


I^^bW 


m^<^ 


/**,fi};*l.(!^,,'';ill^;i*:-l!^,}ii;:l^ 


m 


m 


871 


S7l'A 


^ 

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li 


fw 


wm 


wemmss^iWfiim'ii 


18  Point  7';S'.^ 


^^MSSIS    SESM^^^ 


liMPMPl?PM?   iMl^Pl^MMSl; 


4*  79K 


mm         m 


^-il^^P  \^(^  ^-^^P  ^^li^fi^ 
-^^^'n^"*  ^<^^'n^'*  ^^^'n^'^  -^^^'n^"* 


3f,  I'oini  1224 


^'/    ^'^   /f^  ^'/    v'^    //^         .^'/    i'i  //^        f^'/    d'i    /'^ 


36  Point  12241) 


36  Point  1224/i 


36  Point  1225 


36  Point  1225  b 


36  Point  1225     ^,,1 


«f'0§^,)S     36  Point  1224/, 


24  Point  872/) 


872  872/,  872  b 


l"!'5§!t,,i'?  *1,1^5>V'|        %.&^V!i 


^  m€ 


R73  Ii 


S  ?,u«!  '.'giv*  4^^\rr. 


***^ 


Is'Xl  24  Point 

873  872/  872  b  873  b 


a. 


*s^ 


li'l^ii^  24  Point  Combination  %i^'TI 

872  872/  872  b  873  8731 


gr'iiS^  «/<;         »/■;/         «/j  t)         873         873  ii  *^*'w 


18  Point  799!;. 
'-.4  if  18  I'omt  MiVi 


799  799/  799  h  800  b 

v.^=T=  %t?':'^-  AS**  aSgjg 

W'n'J  jS/te.«  My^7-  ^S<5 


p?  np^^  rji|?  r-^     r^^  v^  r^  M^ 


}I      1  Vr  Tl/   T.,     ,  . 


«i 


i 


799  800  799'/,  799  h  800  b 


1108 


LINOTYPE    DECORATIVE    MATERIAL    •    Bordcr  MatricCS 


Chmt'iims  Bells 


^p%  1»  Point  ^^3 


J3ib 


732 


^^3 


o  ri  r^  o  ^'  '^  ^'.'^  '^1'^  ^'.'"^  '^ ,''  '^  y  ^ji^.''^  '^-^^■^^S 


1  O.W 


18  I'liiiit  7.M 


t^'  i^  t^.  t^  t^  I 


jC  ^v  ^<r 


IX  I',. hit  7.1S 


c^  <5S 


c^  cal- 


ls Point  7,17 


18  P.Hiit  c  riniliniation 


714  7-1S  7.1h  7.i7 


^'C^'C^ 


1.'  Point    IIHII 


I-'  Pi.nit  1041 


W  ff^5 


^^^^1^^^^^^ 


IJ    P(.lllt    1II4_' 


1.'  I'umt   ll>4,t 
\2  Pnmt  C.mihin.-iti.i 


^       ^' 


in-11)      in4i 


■^f      ^^      ^ 


12  Point  SS7 


12  Point  592 


PATRIOTIC  DESIGN 

Border  Matrices 


mi 


See  .ils.i  P.iiie  1III4,  i,  Point  .18  ami  ,x  P.,int  -I-IS 
6  I'oint  IU5 


104;4 


I'.llll 

104 

A 


104  yi 


□    □□□□EaQESEaQDQDQa 


12  Point  5S4 


*****•*••****•* 


12  Point 
1017  101  7  >^ 


es 


An  American  flaK  .an  lie  formed  by  m^itiK  Holders  1017 
ami  10171.-  in  lonneetn.n  witli  Maln\  Sli.ip41s 


S 


o  oooooooooooooooooooooo 

K   I',. lilt    ^Jl 

O    (XSOOOOOOOOOOOOOOOOOOOOOOOOOOOO 

(,  I'omt  ,i-'   (See  aU.,  Matrix  Sli.le  ll5f)l 
12  I'oint  555 


1109 


Border  Matrir''s  ■  linotype  decorative  material 


36  Point  1203 
See  also  Matrix  Slide  7002 


26  roint  1101 

28  Point  1302 

ee  also  Matrix  Slide  4501 

See  also  Matrix  Slide  5001 

26  Point  1102 

26  Point  1102!^ 

Blue  Section 

Red  Section 

Sn.  Same  as  26  Point 

Y  flag  above,  arranged 

Y  for  two  colors 


18  Point  721 


24  Point  813 


See  also  Matrix  Slide  2006 


12  Point  11)34 


18  Point  722 


Sec  also  Matrix  Slide  1425 


8  Point  426 


6  Point  107  12  Point  533 

*  f 

See  also  Matrix  Slides  1418  and  1443 


10  Point  240 


W    €€€€€€€€€€€€^ 


^ 


12  Point  572 


A  mmmmmmmmmm 


18  Point  763 


12  Point  1004 


sy     s  -^  sy(  Si 


^ 


Point  571 


12  Point  5'y6 


;^s\3 


X  xxxxxxxxxxxxxxxxxxxxxx 

8  Point  427 


12  Point  582 


12  Point  597 


^in  iSkl^lD  \si!^in  \sii^ 


M,  Point    1J30   (Anstvali.m   I'lat;' 


'is    m 


24  Point  833  l.\ll^tralian  Mag) 


18  Point  746  I  Australian  Klasi 


18  Point  793  (lirazilian  Flag) 

12  P.iiiit   )0S3   'Hra/ili;iii   FlaKi 

i^l^  (^^  l^^  [^5>i  fSls^  [Sl^  IS1§^  ISTs^  fS' 


j^ 


SI 


Point  76''   lBIlli^h  FhiKl 


12  Point  1079  (British  Flag) 

^  ^tk    ^ra^   ^Sl^  "^ji^  ^^^  ^Sl^  ^Sk  ^1^  ^t^   '^^  ^3^   ^^  1»^ 

f.  Point   132  I  British  Flag) 

6  Point  106  (Cuban  Flag) 


Two  Color 

1232  1232' J 


One  Color 
1231 


IS^ 


1110 


LINOTYPE  DECORATIVE  MATERIAL  •  Border  MiltriCL'S 


***** 

36  r.'iiit  1J5V 

•  ••**• 

.1(1  p.. nit  MOS 

*  ****** 

:4  r.,iiit  SI- 

*     ********* 

IS  Point  7("iS 
AKn  made  nil|iliiatc  riiar.n  Icr 

*        ************ 

IS  Piiiiit   17(11 

•  •••••••••••* 


M   Point   IMli. 
Also  made  Dtiplitate  (  haratli 


*  ************** 


12  l'..int  lOU^ 
ide  in.l.h.atr  Cliai 


•  ***************** 

in  Point  J-4^ 
Also  made  Dnplicate  Chara.tci 

•  ******************** 

o  Point  '1(1^  (Made  as  Hindu  ate  Clou  a.  let  I 

•  ••**••***••*••****•*** 

S  Point  437  (Also  niade  as  Duplitate  (liaiailer) 

S  Point  428 

•  •••••••••••••••••••••••••• 

7  Point  6(10  (Made  as  Dniditale  (  liaraileil 

•  •••••••••••••••••••••••••••••• 

6  Point  102   (See  also  Matrix  Slide  14^2) 

6  Point  IDS  (See  also  .Matii\  Slide  14=.3j 

24    Pi. lilt  SO! 

IX  Point  757 
14  Point  l?l(l 
12  Point  lOSI 
10  Point  2(..\ 
8  I'uint  432 
6  Point  fix  (See  also  Matrix  Sliile  1  4sl  ) 


RED  CROSS  EiVlBLFMS 

+  +++++ 


30  Point  1401 


+  ++++++ 

24  Point  X7n 

+      +++++++++ 


IS  Point  790 


14  Point  1501    (Made  as  Dniilii  ale  Characterl 

+     ++++++++++++++ 

12  Point  lOfifi  (Made  as  Duidirate  (  liara.  terl 

+       +  +  +  ++++  +  +  +  +       +++  +++++++  +++  + 

S  P. lint  4s2  ^'.'   P'dnt  3(1S 

+   ++++++++++++++++++++++++++++++ 

(.  I'oiiit   =■'.  (See  als,,  Matrix  Slide  14071 

12  Point  107fi 
(I  Point   171 


*  ****************** 

10  I'oint  245 

*  **********  *      *****««**««** 

X  Point  436  6  Point  163 

[*]     ^[B[E[*][B[*][*][Bi*][*][B[*][S][fi^[B[B[*] 

10  I'oint  262 
0  I'oint  906  8  Point  453 

^  [Si*l[*lpPP[*ip[£^P       ^  Pi«)^i*)*lij[I,"«[*ipi*ipp 

7  I'oint  607  6  Point  168 


EASTER  DECORATION 

Border  Matrices 

m      -   ""■"""   n7      m 


^  12  Point  ^ 

^  S70  1029  ^ 


nil 


Border  Matrices  ■  linotype  decorative  material 


2^  ^^  =i£^  ^^  =i^  &^  ^«^  ^^  ^iS^ 

18  Point  713 


12  Point  580 


12  Point  1033 


18  Point 
714  718 


HALLOWE'EN 

Border  Matrices 


34  Point  817 


18  Point  726 


ST.  PATRICK'S  DAY 

Border  Matrices 


W^W&iWi:M-h.1^i 


12  Point  574 


12  Point  575 


12  Point  569 


\{/        H^  ^1/ ^4^  ^i^  M^  M^  Ni^  NK  NK  N^  "^K  Ni^  N<^  N^ 


12  Point  584 


ST.  VALENTINE'S  DAY 

Decoration 


12  Point  Matrix  Slide  I4S7 


W'O  W>>. 


12  Point  595 


THANKSGIVING  DAY 

Border  Matrices 


IS  I'oint  745 


12  Point  1050 


Q^  s^  fl^  q; 
a!^  tMs?'  fS^*'  fSs 


i:    I'onit   IIMS 


12  Point  583 


(Continued  from  page  lllK) 

Miscellaneous  Matrices 


Character  y^6  (A 348) 

12  Pt.  10  Pt.  9  Pt. 


Character  ^ji^  (A 348) 

10  Pt.    8  Pt. 


8  Pt.  7  Pt.  6  Pt. 

[^  1^^  ISl 

Character  425  ( A  3  48 ; 

10  Pt. 

Character  ^6-]  (A 348) 
10  Pt. 


Character  748  (A 348) 

6  Pt. 


Character  426  ( A  3  48 ) 

10  Pt. 

Character  ^07,  (A348) 

6  Pt. 

Charatter  769  (A 348) 

12  Pt.  10  Pt.  9  Pt.  8  Pt.  7  Pt.  6  Pt. 

\y>  \f  \T  "^  '^  ^ 

Character  jjo  {^}i\8)  Character  jj  1  (A348) 

10  Pt.      8  Pt.  12  Ft.        10  Ft.       9  Ft.        8  Pt. 

QJJ       923  1^         ^        5^        »■ 

Character  J -J  2  (A348)  Character  y-j^  (A348) 

10  Ft.    9  Ft.    8  Ft.    7  Pt.    6  Ft.  12  Ft.        10  Ft.      8  Pt.        7  Pt 

^=.    ^»    m,-    Si    ^         ^a       isa      «a      ^ 


Character  -j-j^  (A 348)  Character  -j-j^  (A 348) 

10  Ft.       9  Pt.       8  Ft.  10  Pt. 


Charaaer  yy6  (A 348) 

12  Ft.  10  Pt.  8  Pt. 


Character  j-jS  (A 348) 
10  Ft.  8  Ft. 

T      T 


1112 


LINOTYPE    DECORATIVE    MATERIAL    •    OvCT-All  Patter?lS 


^ 


1 
t 
1 


I 


12  I'oiiit  II 
10J8  Rev 


t 

•J  <»*' 


l^ 


s 


v 


eised.  ; 


7  Revers;eil.  1028. 
iild  6  I'oint  1314 


r^?0>    X    (<^ 


^  ^"^^  om^^  ^)^^^  ^ 

>^  ^em^  j^em^  ^M)^  J, 
"^^  w^^  ^w^^  ^"^^ 


-X-* 


^%.        ^:^        ^^ 

^  **  ^^  ■=-^--==-  I:^  ■^-•=^-  5 
sS7^t  vi— X-   ia  *^   -X--X-   jt"^  -; 

^  **  ^^ ....  ^^ ....  ^^ ..;.  ^ 
^  **  ^^  ^^^^  ^^  ^-  ^^  ^^^^  ^ 

^^        ^%.        5:%.        ^%. 

^   *.t   ^"^   .:•.<-    "^"^   .:--x-    "^-^   ...:-    ^ 
^   **   ^^   ^^^^   ^:^   ^^^   ^^   ^^*   ^ 

■^^    ....    '%^    ....    "^^  "^^ 

va.  jft    -A-v,-    SL  Jtt    v.- -A-    SL   jtt    ..-.;-    jfc.  jtt 

ar  Ttt    -;•--■-    ar   lif    -■--••.    jjr  ik    .■.■....-.    m-  -»i 

^^        ^%.  '  '  5:^  "'■  ^!^ 

^l     *.{•     TO.  ^t     ....     Jo.    M.     ...V     wL  ^t     ...;-     Jtt 

^isfc         jf^y>^        -*<!35».         .<5<;3''».         j*^ 
■^:^  ,.,.  •^:2-  ....  ■^:^  ....  •^:^ 

5m,     JJC       VCV'        J4*.      JR       'A"A*        3«,      Jk        'A' v."        511.      Jlc 

5::^        .^%.        .5::^        2^%. 
^  **  ^^  ....  ^^  ....  ^^  ....  1^ 
^  **  ^^  ^"^  ^^  ^"^  ^^  ^^"  S: 

jfir^i  -X-..  sSr^i  ....  jfe  ^i  ....  jS^'m 

ar   Ttt    -A--;;-    ar   la    -;■;-;■;-    ar   itt    -;;■-;■;-    ar   ts 

^^        .S:%.        .^^        ^^ 
^  **  ^^  ....  ^^  ....  ^^  ....  1^ 
^  **  ^^  ^^^^  ^:^  ••  •'  ^^  ^-^  ^ 

12  rciiiit   lOol  I..  1061  R  ami  f,  Toiiil  97 


Over-All 

Patter?is 

from 

Lhiotype 

Decorative 

Material 


(,  P.,inl  82  and  4  P.iiiit  Sn5 


^ 


m 


4i  G<=fs/>^o  44 

12  Point  1(12?,  1026  and  1073 


®      ^      ® 
?? 

® 


© 


® 


® 


© 


(^X?) 


® 


© 


(^^ 


^^Mi^  u^Mi^  u^Mi^ 

12  Point  n-6I..  C;-()R  and  10  P.iint  204 


© 


1113 


Miscellaneous  Characters 


X  fi  I'oiiit  ]MA:, 


CHECKERS 

The  checker  board  is  made  up  of  8  one-pica  slugs 
alternating  12A348,  character  No.  250  with  12  point 
em  spaces  and  is  cast  on  a  1 2  point  body-  The  upper 
left  and  lower  right  corners  of  the  board  are  in- 
variably black  squares. 


Made  only  in  1 2  A348 

o        m 


28 


12 


PLAYING  CARD 

Matrices 

Character  132  (A 348) 

24  Pt.  18  Pt.    12  Pt.       11   Pt.     10  Pt.     8  Pt.     7  Pt.     6Pt.   5  Pt. 

^  ****** 


*      * 


Charaaer  i^l  (A348) 

24  Pt.  18  Pt.    12  Pt.       n  Pt.     10  Pt.     8  Pt.     7  Pt.     6  Pt.   5  Pt. 

A       A      A      A      *      *      * 


^    ♦ 


Character  134  (A 348) 

24  Pt.  18  Pt.    12  Pt.       11  Pt.     10  Pt.     8  Pt.     7  Pt.     6Pt.   5Pt. 

Character  135  (A 348) 
24  Pt.         18  Pt.   12  Pt.     11  Pt.    10  Pt.    8  Pt.    7  Pt.    6  Pt.  s  Pt. 

A  ^       ♦♦♦♦♦♦       ♦ 


Character  136  (A 348) 

12  Pt.      11  Pt.     10  Pt.    8  Pt. 


Character  329  (A348) 

12  Pt.      11  Pt.    10  Pt.    8  Pt.    7  Pt.    6Pt.  5Pt. 

Character  330  (A 348) 

12  Pt.       11   Pt.     10  Pt.     8  Pt.     7  Pt.     6Pt.   SPt. 
^  (5>  A  A  *  '^  * 

Character  331  ( A  3  48 ) 

12  Pt.       11  Pt.     10  Pt.    SPt.     7  Pt.    6Pt.  5Pt. 

0       0       0      0      *      «      * 

Character  ^^2  (A 348) 

12  Pt.       11  Pt.     10  Pt.    8  Pt.     7  Pt.     6  Pt.  5  Pt. 
^         ^         ^         <;?        '5'        «>        ^ 


FRATERNAL  EAIBLEA/I 

Matrices 

The  designs  shown  are  all  one-letter  characters. 
Please  order  by  character  number  in  desired  point 
size,  including  the  matri.x  triangle  number  indicated. 


M.'VSTER   M.ASON 

Character  i  (A328) 

10  Pt.       8  Pt. 


6  Pt. 


Character  2  (A3 -8) 

24  Pt.  18  Pt.        12  Pt. 


PAST  MASTKR 
Charatter  3  (A3 28) 

6  Pt. 

CHAPTER  MASON 

Character  i\  ( A328) 

24  Pt.  18  Pt. 


12  Pi.      10  Pi.      K  Pt       6  Pt. 

MASONIC  CHAPTER 

Charaaer  5  (A3 28) 

6  Pt. 
A 

KNIGHT  TE.MPLAR 

Character  6  ( A  3  2  8 ) 

6  Pt. 


EASTERN  STAR 

Character  7  ( A328) 

6  Pt. 

® 
Character  %  (A3 28) 

24  Pt.  18  Pt.         6  Pt. 


GROTTO 

Character  9  ( A 3  28) 


MYSTIC  SHRINE 

Character  10  ( A328) 

12  Pt.  10  Pt.        6  Pt. 


RISING  SUN 
Character  ii  (A3 28) 

8  Pt.  6  Pt. 

O  o 

ODD  FELLOWS 
Charaaer  13  (A3 28) 

Pt.  6  Pt. 


SHRINE 

Character  1 4  ( A  3  2  8) 

12  Pt. 

flf 


1114 


LINOTYPE  DECORATIVE  MATERIAL  •  Miscellmieoiis  Characters 


ROUND  and  SQUARE  DOT 

Matrices 

Character  i  ( A460)    i  .-nteis  un  6.  x.  10.  12.  14  and  ir  ut.  slug 

•  H        -H        -H        -H        'H       -H 

Also  ni.ide  in  5'..  7.  'J  and  11   p.mit 


Character  i  ( A4f'o)    '  <-"I<ms  ,,„  i,,  7,  »,  10,  u,  m  .cmi  is  i.t.  -,1111; 
.|_|        .H       'H       -H       -H       -H       .H 

Also  made  in  5' J.  'J  and  II  pnint 
Character  3  {  A4'^o)      (enters  on  8.  in.  i:.  M.  1ft  and  24  pt.  slug 

.|_|       .H       •H       •H       -H      -H 

*       I  Alsn  made  in  9  and  I  1  point,  and  as 

18-  and  24-point,  Twn  Letter 


Character  4  ( A4'^f^*    i  .-ntcis  on  s.  lo.  u.  m.  ix  and  _m  pt.  sUig 

.1_|     ,H     -H     -H     -H     •" 

I        I  Also  made  in  ')  an<l  11  p.unt.  and  as 

18-i>"inl.  Two  Letter 

Character  5  (A460)      centers  „n  1(1,  \2.\A.  \H.2A  and  Ml  i>t.  slug 

,u  ,H  -H  'H  -H  -H 

I  I  Alsc.  made  as  IX-  and  .Mpinnt/lwii  Letter 

Character  6  (  A4'''o)     <  enters  un  14.  IX.  .M  and  M)  pi.  slus 

•  H   •H   •H  •" 

'  '  A   K \r,     '.L.-      IU_l>.,;iit  ll.,.     I     otto 


Als.)  made  as  l,S-l>uint.    Two  Letter 


Character  7  (  A460)      (enters  un  IX,  24.  .1(1.    and  .!6  pt.  slug 

•  H  •H  ©H  •H 


Als.,  made  as  IX-  and  -M-i)cniil.  Twu  Letter 


Character  8  (  A460)      (  enters  nn  24  and  K  pt.  slug 

H  •H 

Character  9  (  A4'^o)     'enters  on  24  and  ,30  pt.  slug 


H 


H 


•  Paul  Michaels     •  Edward  Baker 

in  this  detnuiibtration,  CharaLler  No.  3  is  used  in  the  12  point  size. 
to  center  on  the  M  point  Metvofiiin  No.  2  cap. 


Character  25  (A 460) 

•  H      -11      -H      -H      -11      -n 

(enters  on  6.  7.  H.  'J.  HI,   11.  12  and  14  in.  si^es 


II  •" 


Character  26  (A 460) 

•H     -H     -H     -H     -n 

(enters  on  (..  7.  X.  <).   10.  11,  12  and  14  lit,  sizes 


•II  -11  -11 


Character  27  (A460) 

•  H  -H  -11  -H  -H 

Centers  on  6.  S.  9,  10  ami  12  pt.  sizes 

Characters  25.  2(>  and  27  center  i.>n  capitals  in  sizes  imiicated. 


Character  i8  ( A460) 


H 


Character  19  ( A460) 

■  H       "H       "H 

Centers  on  f>.  X  and  10  pt.  slug 

Character  20  (A4<')o) 

■H 

Centers  un  6  pt.  slug 

Character  21  (A 460) 

■  H       HH 

("enters  on  X  and  10  pi.  slug 


Many  other  spins  \^hlch  can  be  used  in  the  same  way  will  h 
in  aniilher  pait  iif  this  catalnj;,  such  as  the  follnwing; 


Centers  on  .36  pt.  slug 


(.  point  lloriler  X' 
X  iioint   H.nder  4n|  ' 

10  point  Bender  20Si 
h  point  Horder       n 

10  p.iint  Border  213 


■  Align  approvini.ilidy  with  X  pt 

■  Align  approMin.ilely  uilli  10  p. 
^H  -Mign  .ipproxiniately  witll  14  p< 

^  Align  .ippioxim.itely  with  X  p, 

^^  Align  appi  o.\nnately  with  14  p< 


PIECE  BRACE  MATRICES 

A  full  set  of  characters  will  make  either  horizontal 
or  vertical  braces  in  anv  even  em  length.  iMade  in  all 
sizes  from  5  to  18  point.  In  ordering,  specify  point 
size  and  t\pc  face  \\  itii  u  hich  tlie\'  arc  to  be  used. 


f  New  York 
J  Boston 
]  Cleveland 
[  Detroit 

OPEN 
(To  show  niake-upl 


New  York 
Boston 
Cleveland 
Detroit 

CLOSED 
(z\s  they  would  print) 


FU  I.I.  SE  r  OF  CHARAC  FERS 


1      I      1-     J      f     i      I      I 


1115 


Miscellaneojis  Characters  •  linotype  decorative  material 


Universal  Lmotype  Fists 

Linotype  fists  are  made  in  one-letter  matrices.  Please 
order  by  character  number  in  desired  point  size,  in- 
cluding the  triangle  number  indicated. 


Character  i  (A 400) 

10  Pt.  sy,  Pt. 

Character  i  (A 400) 


Character  2  (A 400) 


-ca 


•ca 


14  Pt.  12  Pt.         10  Pt.        9  Pt.        8  Pt.       7Pt.  6Pt.   ,SPt.  "(Pt. 


Character  4  ( A  400) 

14  Pt.  12  Pt.         10  Pt.        9  Pt.        8  Pt.      7Pt.   6Pt.   5Pt.  4Pt 

"SS    =gS    -Si    -Si 


Character  5  ( A400) 

14  Pt.  12  Pt.        10  Pt.       9  Pt.       8  Pt      7Pt,    6Pt.    S/iPt.  4Pt. 

JJHP^  iP^^  IW"  1*"  ^^^  sw- s*~  *■  **" 

M'  I't  24  Pt.  18  Pt. 

aw 

36  Pt. 

Character  6  ( A400) 

14  Pt.  12  Pt.        10  Pt.       9  Pt.       8  Pt.     7Pt.    6Pt.    5',-;Pt.  4Pt. 

-^^JJj -^1 -«i '^l 'W  ^  "«  ^  "* 

JO  Pt.  24  Pt.  18  Pt. 


Character  J  (A  400) 


Character  9 
(A400) 


Character  10 
(A400) 


Character  8  ( A400) 

7  Pt.  6  Pt. 

Character  1 1 
(A400) 

f 


Character  12 
(A  400) 


Character  15 
(A400) 


DECORATIVE  BRACKETS 

These  brackets  are  available  for  dressing  up  folios 
and  other  lonely-looking  bits  of  type  matter.  In  or- 
dering, specify  character  numbers,  point  size  and 
triangle  numbers  indicated  below: 


Characters  i  -  2  (  A438) 

14  Pt.  12  Pt.  11  Pt. 

[]     n     n 


Characters  3-4  ( A438) 

14  Pt.  12  Pt.  11  Pt. 


[]      n 


[] 


10  Pt. 


10  Pt. 


9  Ft. 

12 


8  Pt. 
[] 


8Pt 

LI 


6Pt. 

[  } 


Characters  1 1  - 1 2  ( A438) 

12  Pt.  10  Pt.  8  Pt. 


Characters  1 3  -  14  ( A438) 
12  Pt.  10  Pt.  8  Pt. 


Characters  5-6(A438) 

12 1't.  10  Pt. 

Characters  7  -  8  ( A438) 

12  Pt.  10  I'l.  8  Pt. 

Characters  9  ~  i  o  ( A  4  3  8 ) 

12  Pt.  10  Pt.  8  Pt. 

{}      n      n 

Characters  1 7  -  1 8  ( A438) 

12  Pt  11  Pt,  10  Pt.  9  Pt. 

[]      []      []      n 

Characters  19-20  ( A438) 

12  Pt.       11  Pt.      in  Pt.     8  Pt, 

[]       []      []      " 

Characters  21-22  (A438) 

14  Pt.  12  Pt,  11  Pt,  10  Pt. 

9  Pt,  8  Pt.  7  Pt,  Must    be    cast    on    body   one-point 

<^5  ^.&->   <«-5  ^   t*^  ^fe'     ^''"'^"    "'"'"    '"'''<^»'«''   P°'"'   S'2«- 


8  Pt. 
[] 


6  Pt. 
[] 


1116 


LINOTYPE  DECORATIVE  MATERIAL  •  Miscellmieoiis  Characters 


Characters  25-26  ( A4?><)  Characters  27-28  ( A43^) 

14  I't.         12  in,        11    in         HI  I't.  M   I'l.  1.'  I't.  1(1  Pt. 

[]    []    []    i]  n     n     n 

9  Pt.       8  Pt.       7  Pt. 


Characters  29-  ?o  (  A4.3S^ 

14  I'l  \2  Pt,  II    Pi,         III  Pt  y  Pt,  8  Pt.         7  Pt.         6  Pt. 

[}     f]     [}     n     n     fi     n     11 
{}    {}     {}    n    n     {}    (i    '^ 

Made  as  Tvvci  l.i-llii    .M.itiites,  runuin  with  italic 

Characters  31-32  ( A43^) 

14  Pt.        12  I't  I  I    I'l,         III  I'l  'I  PI,         S  Pt,  7  PI  6PI, 

[]      []      []      n      f]      f]      n      [] 

{}    (}    i)    {}    {}    (}    (f    ^^ 

Made  as  Two  Letter  Matrices,  ruiiiaii  with  italic 


PARAGRAPH  MARKS 

Many  plain  and  dccoratixc  [laragiaph  marks  are 
available,  to  harmonize  with  various  typographic- 
styles.  Supplieii  in  any  point  size.  In  ordering  specify 
character  numbers,  point  size  and  triangle  num- 
bers indicated  below: 

Character  15  ( A}3^) 

14  Pt.  12  Pt  in  Pt.  9  Pt.  8  Pt.  6  Pt,        515  Pt, 

H       C       c      c      c      C       c 


C 


c 


c 


Character  14  ( A?38) 

14  Pi,  12  Pt  11   Pt.         10  Pt.        9  Pt.  8  Pt.        7  Pt.        6  Pt. 

CCCCCCCe 

36  Pi.  30  Pt.  24  Ft.  18  Pt. 

Character  i6  ( A33S) 

14  Pt.        12  I't,        11   I't,         10  Pt  9  Pt.         8  Pt.  7  Pt  6Pt 

^  ^  ^  ^  ^  ^  ^  ' 

Character  17  (A338)  Character  18  (A338) 

10  Pt.  8  Pt.  14  Pt.    12  Pt.    11  Pt.    lOPt.    8Pt 

9      9         g  ^  §  §  9 

Character  u,(/^u>^)  Character  20  i  A^,,H) 

,111  I'l  24  PI  18  Pt. 

IX  Pt,  14  I't         II    PI       111  I'l  ^_.  _. 


Character  21  ( A 3 3^) 

14  Pt,  12  I'l,  11    Pt.  10  Pt.  8  Pt.  6  Pt. 

s 


5  5  1  1  5 

'Character  22  ( A  3  3 

10  Pt.         24  Pt,      l.s  Pt 


Character  22  (A33*^) 

30  Pt.         24  Pt,      l.s  I'l       |,|  I'l     12  I't,    11    I't,   10  Pt.    9  Pt,    X  I't,    (,  I'l. 

q  q  q  ^  n  n  'i 


Character  23  (  A  3  3  S ) 

14  Pt.      12  Pt.      10  Pt.      8  Pt. 

Character  24  ( A  3  3  8 ) 

24  Pt,  18  PI  14  I'l.      12  Pt,      IlPt,   lOPt.    9  Pt.    8Pt,   6Pt. 

Character  26  (A3 38) 

14  Pt.       12  Pt.       11  Pt.       10  Pt.         9  Pt.       8  Pt.         7  Pt. 

{[    {[     i[     il     <[     <r     '' 

.Must  lie  .asl  ..II  li.idy  ,.iic--piiiiit  l.iruer  tli:.ii  null,  aled 

Character  27  (  A338)  Character  28  (  A33*<) 

12  Pt  10  Pt.        8  Pt.        7  Pt. 

([  ^  ^  ^ 

Character  29  (A 338) 

14  Pt.  12  Pt.  10  Pt,  9  Pt.  8  Pt.  6  Pt 


^  ^  H  H  H  ^ 

Character  30  (A3  38) 

4  Pt  12  Pt,  11  Pt.  10  Pt.  9  Pt.  8  1 

H       ^       n       ^      ^      ^ 

haracter  31  (A  338) 

1  Pt  12  Pt.  10  Pt,  9  r 

haracter  32  (A 338) 
Pt.      IS  Pt.      14  Pt.    12  Pt,    11  Pt.    1 

5     5     5     »     '     '     '     '     ' 


Character  31  ( A  3  3  8 ) 

14  Pt  12  Pt.  10  Pt,  9  Pt,  8  Pt.  6  Pt. 

!  1 


Character  32  (  A  3  3  8 ) 

24  Pt.        18  Pt.        14  Pt.      12  Pt,      11   Pt.      10  Pt,     9  Pt.     8  Pt.      6Pt. 


Character  33  ( A  3  3  8 )  Character  35  ( A  3  3  8 ) 

24  Pt.  14  Pt.      12  Pt,      II)  Pt.  16  Pt. 

^  1  1  (J 


Character  34  (A338) 

14  Pt      12  Pt,      u  Pt,  10  Pt.       9  Pt.      8  Pt.        7  Pt.       6  Pt. 

5f          5          5  1          5          5          5          ! 

^      y      y  f      f      y      ?      J 

Ma.le  as    lu.i  I.ellcr  MalrKcs.  roiiian  willi  italic 

Character  36  ( A338)  Character  37  (A338) 

16  Pt.  15  Pt. 


1117 


Miscellaveoiis  Characters  •  linotype  decorative  material 


ELECTION  and  B  \LLOT 

Matrices 

UKU'ERSAL  PARTY  EMBLEMS   (24A?46) 


No.  1  No.  2  No,  J  ,\i>.  4  No.  ,=;  No.  6 

^       ^      ft 

No.  7  No.  9  No.  in  No.  ll  No.  12 


No.  13  No.  14  No.  15  No.  19  No.  20 

(i2Ah6) 

No.  1         No.  2       No.  3        No.  4        No.  5        No.  6        No.  7        No.  9 


No.  11       No.  19 


(loA.H^)    AT       rf 

No.  10       No.  17 


UNIVERSAL  BALLOT  CIRCLES  (A346) 
Character  102  Character  129 


24  Pt.  20  Pt.  18  Pt. 


24  Pt,  18  Pt. 


000  0     (g 

UNIVERSAL  BALLOT  SQUARES  (A.^^) 
Character  107,  upper  half  (A  346) 


12  Pt.  11  Pt.  10  Pt.  9  Pt,         6  Pt, 


Character  108,  /ooi'tT  ^a//  ( A346) 
14  Pt.  12  Pt.  11  Pt.  10  Pt.  9  Pt.         er 

I I      |_J      LJ      1—1      LJ      L_J 

Character  109,  upper  half  (A  346) 

14  Pt.  12  Pt,  11   Pt,  10  Pt,  9  Pt.  6  Pt 

r\71     R71     f^     rvl      K71     ^ 

Character  1 10,  lower  half  (A  34'^) 

14  Pt.  12  Pt.  11   I't  10  Pt.  9  Pt.  6  Pt 

\y\\      \y\\      \/\\      l/\l      1^1      ^ 

Cliaracters  Nos.  107  and  108  are  sectional;  when  slugs  are  joined, 
they  form  a  complete  square.  Two  9  point  characters  make  an  18 
point  square;  two  14  point  make  a  28  point  square,  etc.  Characters 
Nos.   109  and  110  are  also  made  to  he  joined  together,  as  shown: 


Characters  107  and  IC 


Characters  109  and  110 


D 


X 


X 


Character  105 

36  Pt.  28  Pt.  24  Pt.         20  Pt.       18  Pt.     14  Pt.   12  Pt. 


nan 


Character  in  (A 346) 

2X  Pt,  24  Pt, 


nnnn 


X 

X 

X 

X 

14  Pt,             12  Pt. 

11   Pt.           10  Pt. 

8  Pt. 

7  Pt. 

6Pt. 

X 

|x| 

m 

s 

m 

a 

H 

Character  123  (A 346) 
20  Pt.        10  Pt. 

xl 


X] 


Character  124  (A 346) 
20  Pt.        10  Pt. 

n 


~i 


Character  125  (A 346) 

20  Pt.        10  Pt. 


Character  126  (A 346) 

20  Pt        10  Pt. 


28  Pt.  18  Pt. 


Character  128  (A346)  Characters   123.   124.   125  and  126 

— in      the      20      point      size — are 


shown  III  tyi>ical  use  helo 


X 


36  Pt. 


n 


Miscellaneous  Matrices 

(See  also  page  1112) 

Character  lo  (A 348) 

24  Pt.  18  Pt.  14  Pt.  12  Pt.        10  Pt.        8  Pt         6Pt 

1^  l^  i^  l^  1^ 


1^  y 


Character  2}  (A 348) 

14  Pt.  12  Pt.  10  Pt.  8  Pt.  6  Pt.  554  Pt. 


Character  34  (A 348) 
10  Pt.      6  Pt. 


Character  103  (A 348) 
12  Pt. 


Character  1 1 2  (A  348)  Character  150  (A348) 

12  Pt.    10  Pt.  8  Pt.   7  Pt.  6  Pt.        12  Pt,  8  Pt. 


Character  151  (  A  348 ) 

14  Pt,  12  I't,  10  Pt. 


e     e 


8  Pt.  7  Pt.  6  Pt. 

e  e  e- 


Character  152  ( A348)  Character  153  (A348) 

10  Pt.  8  Pt.  6Pt.  i^P*-  HP' 

Character  183  (A350)  Character  206  (A350) 

irPRiNTEDlI 
||_IN    US  A  J 


O.'s'^t.  "«•- 

12  Pt.  10  Pt. 


1118 


▼▼▼▼▼▼▼ 


MATRIX  SLIDES 


H  p,.i„l    17l_'    ^ 
^     ^     ^     ^ 


PLAIN  RULE 

Matrix  Slides 

Supplied  in  any  Imgth  up  to  50  ems  pica.  (The  decimal 
following  slide  number  designates  the  weight  of  face 
in  thousandths  of  an  inch.) 


2  Foil 

t  401-   - 

002  V5 

2  Foil 

t  400 

003 '4 

2  Po 

nt  402- 

-.004 

2  Point  403- 

-,008 

6  Po 

nt  423- 

-01  1 

2  Point  404- 

-.014 

2  Point  404 '/i 

—.018 

2  Point  4U5- 

-.020 

3  Point  406- 

-.028 

3  Point  425- 

-.041 

4  To 

nt  407- 

-.042 

4  Point  407 ;/i 

—.045 

4  Point  427-- 

,0.54>4 

5  r.. 

nt  41''- 

-.0S6 

5  Po 

nl  40.S- 

-.OSX 

6    I'D 

nt  409- 

-.070 

C,    I'oiTlt    -11  J         M7i 

6  I'o 

nt  4111 

.077 

6  I'o 

nt  411- 

-.080 

1.  \\, 

11 1  4J(i 

MX."! 

X  Poi 

it  413— 

,107M 

10  Point  414     .12.S'.. 

10  Point  41S— .135 

10  Point  420— .140 

12  Point  416— .152 

12  I'.iint  41.S— .156 

12  Point  417—160 

12  Point  421-   .168 

18  Point  2002—245 

^^^^^HI^^HJ^^^H 

24  Point  .^504-  328 

^^B^^Hj^H 

PLAIN  RULE 

Matrix  Slides  with  Comers 


6  Point  400  ;i 

6  PniTil  401  a 

r 

6  Point  402a 

1,  I'liinl  403a  (Special) 

6  Point  403  a 

c 

14  Point  403  a 

6  Point  404a  (Special) 

6  Point  404  a 

r 

i\  Point  40(1  h 

^ 

6  Point  401  h 

^ 

6  Point  402  h 

"^ 

6  I'oint  4031)  (Special) 

' 

6  Point  403  b 

^ 

14  Point  403h 

1 

6  Point  4041)  (Special) 

■* 

6  Point  404  1 

N 

Matrix  sIkhs  loilh  ^.S  or  J,  point  jticr  will  c(ist  on  thr  rdqr  nf  sliui  hoilifs  r,  point  nitd  Inrqi-r 


1119 


Matrix  Slides  ■  linotype  decorative  material 


12  Point  404  a 

12  Point  4041) 

12  Point  418a 

12  Point  418b 

r 

12  Foint  404;/.  a 

12  Point  404/jb 

^ 

^^^^^^^^^B    ^^^^^^^H^ 

12   Point   405a    (Special   No. 

3) 

12 

( 

f,  Point  405  3 

(-  Point  405  h 

^ 

Point   405b    (Special    No.    3) 

12   Point   406a    (Special   No. 

31 

,2 

s 

fi  I'oint  406a 

G  Point  406  b 

Point   406b    (Special    No.    3) 

12  Point   406a    (Special   No. 

1) 

12 

Point   406b    (Special   No.    1) 

12  Point  406  a 

12  Point  406  b 

^^ 

^^ 

12   Point   407a    (Special   No. 

1) 

12 

s 

Point   407b    (Special   No.   1) 

f 

12  Point  406  (Center  No.  3) 

A 

/ 

12   Point   4117a    (Special   No. 

3i 

J.) 

ronit   4(17 1)    (Special    No.    3) 

12  Point  406  (Center  Nc 

.  41 

— 

J 

V 

6  Point  407  a 

6  Point  407  b 

6  Point  401  a  (Reverse) 

6  Point  401  b  (Reverse) 

J 

12  Point  407a 

12  Point  407  b 

6  Point  403a   (Reverse) 
V 

6  Point  403  b  (Reverse) 

J 

6  Point  404a  (Reverse) 

6  Point  404b  (Reverse) 

J 

r 

i;  I'oint  407  (Center  Nc 

.  .1) 

"^ 

12  Point  404a  (Reverse) 

12  Point  404b  (Reverse) 

12  Point  407  (Center  No.  4) 

J 

12  Point  404 ;'j  a  (Reverse 

12  Point  404/i  b  (Reverse) 

V 

6  Point  407;^  a 

6  Point  407!/i  b 

1 

6  Point  405a  (Reverse) 
V 

6  Point  405b  (Reverse) 

12  Point  407';  a 

12  I'oint  407'..  h 

.^HB 

6  Point  406a  (Reverse) 

6  Point  406b  (Reverse) 

M 

r^ 

6  Point  419  a 

6  Point  419  b 

"^ 

6  Point  407a  (Reverse) 

6  Point  407b  (Reverse) 

6  Point  40Sa 

6  Point  408b 

6  Point  407/j  b  (Reverse) 

6  Point  409.1 

6  Point  4091) 

12  Point  410a  (Reverse! 

12  Point  410b  (Reverse) 

12  Point  412a 

12  Point  412b 

12  Point  411  a  (Reverse) 
6  Point  402  a  s.  c. 

■ 

12  Point  411  b  (Reverse) 
6  Point  402  b  s.c. 

1  J  Point  410a 

12  Point  410b 

"^ 

1 

6  Point  403  a  s.c. 

1 
6  Point  403  b  s.c. 

6  Point  411a 

6  Point  411b 

"^ 

6  Point  404  a  s.c. 

1 

6  Point  404b  s.c. 

1 

12  Point  404  a  s.c. 

' 

12  Point  411  a 

12  Point  411b 

12  Point  404  b  s.c. 

1 

6  Point  405  a  s.c. 

1 

6  Point  405  b  s.c. 

w 

12  Point  413  a 

12  Point  413b 

12  Point  405  a  s.c. 

1 

12  Point  405  b  s.c. 

1 

6  Point  406  a  s.c. 

1 

mt 

10  Point  414  a 

10  Point  414b 

1 

6  Point  406b  s.c. 

10  Point  406a  so. 

10  Point  406  b  s.c. 

12  Point  415  a 

IJ  Point  4151) 

1 

12Pt.  406as.c,  (SpeciaINo.2 

1 

1 

1 

12  Point  417  a 

12  Point  4171) 

1 

12  Point  406 

1 

(Center  No.  1) 

^\f 

1120 


LINOTYPE   DECORATIVE    MATERIAL    •   Matrix  SlldcS 


12  Point  -106  (Center  No.  2) 

6  Point  355 

1 

6  Point  407  a  s  c.                                        6  Point  -»07 

h  s.c. 

r,  Pcinl  354 

eiiaiNo.2 

1 
m 

]2I't,  407a  s  A,  iSiieiial  N..   21                 11  Pt.  4071is.c.  IS] 

8  Point  375 

1 

1 

12  Pt.int  407  (Center  No.  1) 

6  Point  356 

V 

12  Pi.int  407  (Center  No.  2) 

1 

^ 

12  I'oinr  41  ]  a  s.r. 

12  Point  3.V1 

6  Point  4(14^1  s  c    (Keversci                  o  Pi.iiit  4ii4  h  <;.e. 

(  Reverse  1 

1 

PARALLEL  RULE 

Slides  with  Comers 

6  Point  303  a                                               6  Point  303  b 

12  Point  404a  s.c.  (Keverse)               12  Point  404 b  s.c 

(Reverse 

J 

6  Point  405a  s.c.   (Reverse!                  6  Point  405  b  s.c. 

(Reverse) 

1 

12  Point  405  a  s  c    (Reverse)                ]  -'  Piunt  4') 5  ji  s  c 

(Reverse 

J 

/> 

12  Point  303  a                                             12  Point  303  b 

~^' 

(Rexersei 

(f 

6  Point  351  a                                               6  Point  351  b 

^A 

PARALLEL  RULE 

n 

12  P..I111I  3=1  a                                                  12  Point  V-A  1, 

Matrix  Slides 

{{ 

ll  I'oiiif  3^3a                                                   1.  l-.iiiit  3^31i 

n] 

2  Point  Jul 

r, 

12  Point  353a                                              12  Point  3531) 

"'^ 

2  Point  507 

tT^ 

12  Point  353  ((/enter  No.  3) 

-^^ 

3  Point  303 

12  Point  3?.!  iCeiiter  No.  4i 

- 

4  Point  304 

■■-^ 

6  Point  354)1 

D'i  Point  305 

-\ 

'.  P"iiit  Jsila                                               6  Point  356b 

s  Point  3117 

.^:  I'.iiiit  37.1.1                                                    ,'■   P,,int  376) 

— ^ 



' 

^\ 

12  Point  306 

12  I'i.iMU  3:1.  a                                                  ,2   Piiinl  y,i,  )i 

- 

r^^                                                     **■ 

14  I'oiiit  3os 

■M 

'J 

r.  Pi 
12  P 

v> 

int  303a  (Reverse)                          6  Point  303b  (Reverse 

J 

lint  303a  (Reverse)                        12  Point  303b  (Reverse 

6  Point  3^2 

6  Pc 

mt  351  a   1  K,x,m-,-i                             6  P,,int  351  h  (Reverse 

r  I'l.int  MX 

t 

ll 

12  P. .int  376a  (  Reversei 
Point  303a  s.c.                                        6  I'oint  303b  s.c. 

Matrix  slides  with  J. 3  or  h  point  fact'  will  ca*-/  ok  the  rdqr  of  slufj  bodice  .',  point  and  larger 


1121 


Matrix  Slides  •  linotype  decorative  material 


12  Point  303  a  s.c. 


12  P'-'nt  303b  s.c. 


6  Point  351  a  s.c. 


12  Point  3.^1  a  s  .. 


6  Point  3.^3  a  s.c 


6  Point  351  b  s.c. 


12  Point  351  b  s.c 


6  r.iint  353  b  s. 


12Pt.  353as.c.  (Special  No.  2i  12  Pt.  353hs.c.  (Special  No.  2i 


12  roiii!  3,;j  K.eiitev  N....   1  ' 


^ 


12  Point  353  (Center  No.  2i 


12  Point  353a  (Special  No.  li  12  I'^.int  3531i  (S;iecial  No,  1) 


12  I'oinl  ,'53.1  iSpcLi.iI  N 


=^ 


12  Puiiit  353  1j  (Special  Nm.  3) 


^ 


6  Point  353a  s.c.  (Reversei 


6  Point  3?4a  s,^ 


6  Point  354  b  s.c. 


Point  356b  s.c. 


;  Point  376  a  s.c. 


S  Point  376b  s.c. 


["oiiil  3761,  ~,c 


14  Point  308a 


MULTIPLE  RULE 

Matrix  Slides 


5  Po 

nt  601 

6  Point  653 

6  Po 

nt  652 

8  Po 

nt  650 

4  Point  6iLl 

5  Point  651 

5  Po 

nt  654 

^ 


(!f 


# 


10  Point  647 


12  Point  658 


11  Point  892 


12  Point  64':) 


12  Point  891 


12  Point  S93 


12  P.niil  74? 


5  Point  601  a 


5  Point  601  b 


6  Point  653  a 


6  Point  652  a 


6  Point  652  b 


6  Point  654  a 


6  Point  654  b 


(~  I'oiiit  737  a 


6  Point  737  b 


^ 


S\ 


5  Point  634  a  s. 


6  Point  654  a  s.c. 


'  :  I'omt  737  b 

5  Point  654  b  s.c. 

=^\ 

6  Point  654b  s.c. 

ill 

6  Point  737  b  s.c. 

ill 

==t1 

Matrix  slides  U'ith  2,3  or  i  point  face  will  east  on  the  edge  of  slug  bodies  5  point  and  larger 


1122 


LINOTYPE    DECORATIVE    MATERIAL    •    Matrix  SUdcS 


ff 


MISCELLANEOUS 
MULTIPLE  RULE 

Matrix  Slides 


5;;  Point  602 


12  Point  6112; 


12  Point  6fi2b 


^ 


12  Point  .XS2 


S  Point  896 


9  Poinl   ;  is 


12  Point  897 


12  Point  894 


6  Point  7-12  a 


6  Point  7-12  ti  H  r. 


12  Point  7-12  1. 


(f 


% 


X  I'ciint  73Sa 


8  Point  7JSb 


//r 


8  Point  7J6a 


8  Point  7.161) 


12  Point  736;, 


12  Point  743 


12   Point  746 


OXFORD  RULE 

Matrix  Slides 


4  Point  5113 

4  Point  505 

4  Point  508 

4  Point  508  (Reverse) 

5  Point  S06 

6  Point  506  ( Reverse  1 

5  Point  510 

6  Point  513 

3  Point  504 

6  Point  514 

6  I'oinl  514  I  Keverse) 

6  Point  515 

6  Point  516 

6  Point  517 

6  Point  521 

12  I'.nm  51S 

Matrix  slides  with  2..y  or  ^  point  fiirr  will  cast  on  thr  cflfic  of  sluft  hodiis  ■'>  point  and  Iargf7 


1123 


Matrix  Slides  ■  linotype  decorative  material 


12  Point  539 


12  Point  542 


10  i'onil  519 


14  Point  523 


12  Point  538 


14  Point  541 


16  Point  545 


14  Point  540 


A  DEMONSTRATION 

of  Linotype  Oxford  Ride  Matrix  Slides 
ivith  Corners 

/ 
V 

OPEN 

to  shoiv 
make-jip 

CLOSED 

as  it 
will  print 

OXFORD  RULE 

Matrix  Slides  with 
Round  and  Square  Confers 


6  Point  505  a 


6  Point  SOS;: 


6  Point  505  b 

6  Point  508  b 

A 

^ 

5  Point  506a 


5  Point  510a 

r 

6  Point  513  a 

f 

6  Point  514a 

6 

Point  514c  (13  ems) 

6  Point  slfia 


6  Point  516  b 


6  Point  516a  (Reverse' 


6  Point  516b  (Reverse) 


6  Point  505  a  s.c. 


6  Point  508a  s.c. 


6  Point  508b  s.c. 


5  Point  510a  s.i 


6  Point  513a  s.c. 

1 

12  Point  513a  s.c. 

Il 

6  I'oint  516a  s.c. 

6  Point  513b  s.c. 


12  Point  513b  • 


6  Point  516  b  s.c. 


6  Point  5)  7  a 


6  Point  516a  s.c.    (Reverse)  6  Point  516b  s.c.    (Reverse) 


8  Point  543b  s.. 


12  Point  538  a  s.c. 


1124 


LINOTYPE    DECORATIVE    MATERIAL    •    Matrix  SUdcS 


GRAY  TONE  and  SHADED 

3  I'oilU  16HI 
llllilinilllllllllllMliiiiMiritiiiiiiiitiiiiiiiitiilililllllillllllllilllliMlillHiiiiiiiiiiiiiiiitiiMiiiiiiiiiiiiiiiiitiii 

Matrix  Slides 

.-   I'.injl   loXl  a 

jiiiiiiiMiiiii II  111  III  11)11  ml  iiiiiiiHiiniiiiiiniiiiiMriMiniiiiliiiiiitini  III  III  iiiiiiiiii  III  mill  iiiHini  nil 

2  I'oint  ]<>b7 

',  Point   I'.yj 

()  Point  1  6H{J 

lllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllll^ 

IMIIIllinillllllllllllllllinillllllllllllllllllllllllllllllllllllMllllilllllllllllllllllMIMIIIIIIIIIIIllMIIIIIIIIIIIIIIII 

',  P.iiui   I',.-'ja 

^IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIHIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIH 

IIIIIIIIIIIIIIIIIIIIIIIIIIIINIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIillllllllllllllllll^ 

12  Point  ir,x.^ 

4  I'uiiii  1670a 

=iIllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllNII|{IIIIIIIIIIIIIIIIIINIII|{||llllllllllllllllllllllllllllllllllllllll^ 

I"'ll ™ "II 1 ' 

(,  I'uiiil   lt.7lia  (^iie<-lal  .\o.  1) 
■  ■lllllllllllllllllllllllllllllllllllllllllllllllllllllllllimilllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllin 

■llllllllllliillllllllll  lllllllllllilllillllllllllll 

(,  I'ouil  Ifi/Da  (Siiei-ial  No.  2) 

,4Mllllillllllllllll{IIIIIIIIIIIIINIIIIIIIIUIIIIlllllllllllllNIIIINIllMIIIIII1ll!l!lllllllllllllllllMIIIIII!lllilllllllllllllllllllllllllll!llll{l^ 

[K   Poinl   21111=. 

Illlllllllllllllllllllllllllllllllllllllllllllll 


6  Poinl    I6r,8 
lllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllll 

I'oint  Kii.Xa 
III 

s  I'oiiit  Ujfjy 


S  Point  1669  a 


]2  Poinl   167') 


12  Point  1679  a 


4  Point  1664 


6  Point  1661 


6  IV.inl   I6r, 


8  Point  16S9 


6  Point  166(1 


6  Point  I  66(1  a 


I,    PolMl     lo=. 


lllllllllllllllllllllllllllllllllllllllllllllllllllll 


iiiiiiiiiiiiniiiiiiiiiiiimniiiiiiiriiiiiiiiiiiiiiiiiiiiiiiii 


<,  Point  UiSbU 


,1  Point  ll.i=a 
•IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIMIIIIIIII 


■  i  Poinl  l(,XS 
iiiiiiiiiiiiiiiiiiiiiiiiiiiillllilliliiiiiiiiiiiiiiiitiiiiiiiiii 


> 


llllllllllllllllllllllllllllllllllllllllllllllllllillllllMlilll 

I-  Puinl  2r,f  A 

uiiiiiiMiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiniiiiiiiiiiiiiii 


Matrix  slides  ivilh   .'.  3  or  i  poinl  face  will  cast  on  the  edge  oi  slug  bodies  ■>  point  and  larger 


1125 


/Matrix  Slides  ■  linotype  decorative  material 


10  Point  265 


12  I'omt  267 


12  Point  267  a 


18  Point  20n-» 


24  I'omt  3502 


6  Point  1687 


14  Point  1346 


lllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllli 


10  Point  1684 


16  Point  1348 


6  Point  l(j72 


12  Point  1673 


5'/,  Point  1671 


12  Point  1675 


12  Point  1676 


12  I'nilll    1619 


18   Point   16'v5 


12  Point  1622 


18  Point  661 


IIIIIIIMIIIIIIIIIIIIIIIMHIIIiiii' N iiiiTTTn 


See  also  Border  Matrix  1022  e 
12  Point  277a  s.c. 


See  also  Border  Matrices  1022e  and  1022^^ 
12  Point  27 


lllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllimi I" iimii II mmiiiimi im iniiiiii i 

See  also  Border  Matrix  1057e 


12  Point  278a  s.i 


See  also  Border  Matrices  1057e.  1057^^  and  10575^ 
12  Point  167S 


iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiyiiiiiiiiiiiiiiiiiiiiiiii 

8  Point  269 

lllllllllllllllllllll 

IMIIIIinilMIIIIIIIMIIIIMI 

10  Point  271 

mil  iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiniiiiiiiiiii  III  ji  Hill  iiiiiiiiiiiiiiiiiiiiiiiiiiiii 

10  Point  271  a 

P^illllllllllllllllll 

mil 

llllllllllllllllllllllllllllllllll 

U 

18  Point  2003 

I 

lllllllll   llllllllllllllllllll 

mill  iiiiiiiiiiii 

6  I'.iinI  1401 

iiiiit]iiiiiiiiiiiic]iiiiiiiinii[]iiiiiiiiiii([]iiiiiiiiiiii[]iiiniiiiiii[]iiiiiiiiiiiic]iiiiiiiiiiiic]iii 

See  also  Border  Matrices  144,  145  and  146 
6  Point  1401  a  6  Point  1401  b 

>:o]iiiiiiiiiiii[]iiiiiiiiiiii[]iiiiiiiiiiiiniiii       iiiic]iiiiiiiiiiiic]iiiiiiiiiiiiE]iiimiiiiiic«:« 

6  I'omt  14U2 

]|||||||||||IC]||lllllllllli:]|||IIIIIIIIIE]|||IIIIIIIIIC]IIIIIIIIIIIIE]llll 

See  also  Border  Matrices  141,  142  and  143 
6  Point  266 


4  Point  263 
llllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllll 


6  Point  1554 


6  Point  1560 


1126 


LINOTYPE    DECORATIVE    MATERIAL    •    MatTlX  SUdeS 

6  roint  1517 

6  Point  249 

6  Point  1520 

6  Point  212 

6  I'oint  1616 

6  Point  206 

See  also  littrder  Matrix  66 

^   Pnint    '>!'> 

1.  Point  21J 

IIIII 
IIIII 
IIIII 
HHI 

mil 
mil 
mil 
IIIII 
mil 

mil 
mil 
mil 
mil 
mil 
mil 



mil 
mil 
mil 
mil 

^  mil 
mil 

?  mil 
mil 
mil 
mil 

IIHI 

1        mil 
mil 
mil 
mil 
mil 
mil 
mil 
mil 
mil 
mil 
mil 

mn 

Hill 
Hill 

mil 
mil 
mil 
mil 
mil 

mil 

?,  Point  219 

iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii 

1  I'.iinl  J.'i) 

6  Point  270 

=  =  =  =  =  =  =  =  =  =  =  =  =  =  =  =  =  =  =  =  ==  =  =     =i^  =  '!=E.  =  =  =  '  =  =  =  =  =  =  =  =  =  =  =  =  =  -  =  '  = 

6  Point  1674 

6  Pui.it  252 

H  Point    13S8 

■:■                ■:■                ■:■ 

S  Point  258 

12  Point  138X;i 

^^           ■:■               ■=■               ■:■= 

I,  Point  261 

6  Point  1521 
12  Point  1519 

4  I'oint  1617 
5' J  Point  1623 

■       ■■■^■■■l 

See  also  Border  Matrices  1014  and  1014', 
10  Point  1516 

6  Point  1618 

1  _'    Piiiilt     1  -'l  r,.i 

\\Lilli-\'rrrrillll:--l-llll:":t:lll-:l",l:l\lll\:rr^:llllilll'zl:-r^^^^^^ 

5  Point  1876 

24  Point  .3501 

6  Point  1609 

•:•^^:•^:•:^•:•:^•:■:•^^:•:•^:•^^^^^^^^^^x•:■:•:•^:•:•:■^:^•:•:•:■:•:•:•:•:•:•:•:•:■:•:•;•:•:•:•:•:•:•:•: 

IIIII, ,.,|||lllll||,,||illlll|,,,|iM»ll||„j.||IIIMli|,, .,111111111, 
llllM-'lllllilll >llll||l llllllH 1 'Illiiiilll 

6  Point  1613 

GEOMETRIC  DESIGN 


Matrix  Slides 

6  Point  205 
2  Point  202 


2  Point  201 

2  Point  204 

2  Point  2(W 

2  Point  208 

2  Point  203 

8  I'oint  207 

SGE 


12  Point  1610 


12  Point  13'i2a 


HE 


5  Point  255 

6  Point  255  a 

3  Point  1568 

r>  Ponit    I5'>' 

6  Point  1571 

:■'   I',. ml  Jf,4 

6  Point  262 

Malrix  ftliiUx  with  J.  J  or  J,  point  fitiT  will  rnsi  on  tin  ,,/,„■  of  sliiii  lioili<:i  r,  imint  and  Inriirr 


1127 


Matrix  Slides  ■  linotype  decorative  material 


':•  Point  1870 


6  Point  1407 
I   I   I   I   I   I  I   I   I  I  I   I  I   I  I   I   I   I   I   I   I   I   I   I   I   I   I   I   I   I 


See  also  Border  Matrix  56 
18  Point  1S50 


'W^K'W 


12  Point  1853 


•w 


6  Point  1387 


9  Point  1362 


14  Point  1364 


■  ■ 


6  Point  1570 


0  Point  1572 


10  Point  1575 


See  ako  Border  Matrix  205 
8  Point  1574 


See  also  Border  Matrix  401 
6  Point  1573 


See  also  Border  Matrix  I 
6  Point  1389 


6  Point  1390 


14  Point  1846 


llllllllllllll 

14  Point  1846a 

■  llllllllllll 


12  Point  1499 


12  Point  1499; 


12  Point  1491 


u 


6  Point  1493 

tOE30E=: IOB301 


12  Point  1400 


■LWdVW^^'LfAM^^V. 


b  Point  1404 


v\i^v^l^v.vwAftrtiVWWv^^^^JWvv^A^ 


See  also  Border  Matrix  39 
4  Point  1403 

See  also  Border  Matrix  93 
1  S  Point  1  579  a 


24  Point  1577  a 


1 


18  Point  1576a 


Inj 


II|B|II|B|II|B|II|B|II|B1II|B|II|«|II|«|IIH|II|«|II|B|II|1|II|«1II|B|II|B|II|B| 

iilBliilBliilaliilBliiLliilBliililiilBliilBliilaliilaliilaliiLliiLliiLliilit 

12  Point  1492 

iiiBiiilBli  ,s:s3»7  ■jm^iimjiiBiiiiaiiiliM  ,^^ss^  ■miaiiiiai 
iiIiliiTiTi  \>^&Z/    iTiriTiililirilirBniTiTi  ti^Ss/    iliiLliiLI 


12  Point  1391 


12  Point  1391 


BSE 


^ 


22  Point  1848 


I  I  I  I  I  I 


6  Point  1365 


PVFW^^^PV^^^MWW 


8  Point  1371  ; 


See  also  Border  Matrix  301 
5  Point  1311 


See  also  Border  Matrix  1 
12  Point  1505 


10  Point  1504 


♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦ 


6  I'oint  1503 
See  also  Border  Matrix  ^Z 


1128 


LINOTYPE    DECORATIVE    MATERIAL    •    Matfix  SiulcS 


♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦ 

Set  alsu  Uurilei   M.itrix  21  1 
()  I'.iinI   1  ■4.1-4 

Se«-  .lis, I  liorilev  .Matrix  .! 
I,  I'.iinl   \M(, 

ooooooooooooooooooooo 

Sec  .liso  lloKier  Matrix  I.! 

6  rmiit   I.IIS 


.Sc-  aN.i  lluiilci    Mall 

♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦ 

Sot-  also  lii.ialci    M.itiiv  JI  ! 


♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦ 

See  also  limiler  M.atrix  I, 

12  I'oiiM  I.^J.s 
♦^♦^♦♦^»  »^»  ♦^'►♦^♦^♦^♦^♦^♦♦^♦^♦^♦♦^'►♦^'►♦^^ 

6  i'..iiil   I  =.JJ 

See  also  Bonlei  .Matrix  -47 
6  Point  1506 

See  also  Border  .Matrix  ^1 
6  I'ouit  I.^Ml 

ttttttttttttttt{tttttttttttt»t»»ttt»Uttttttttt»K»»»tttt 

Sep  also  Bonier  .Matrix  "^7 
(,  I'omt  lAb'i 

♦>  •.♦  ♦.♦  ♦.♦  ♦.♦  ♦.♦  ♦.♦♦.♦♦>♦.♦♦.♦♦>  ♦.♦  ♦-♦♦.♦  ♦.♦  ♦>  ♦.♦  ♦.♦  ♦.♦  ♦.♦  ♦.♦♦.♦  ♦.♦  •>  ♦.•♦>♦>♦.*  ♦.♦  ♦>  *.♦ 
♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦•♦♦>♦♦»♦♦♦♦♦••♦♦♦♦♦♦♦♦♦♦♦♦••••♦♦•♦ 

.See  also  Bonier  .Matrix  .51)'; 
6  Point  1460 

See  also  Bonlei    .Matrix   Mil 
(1  roinl  1-455 

See  also  Bonier  .Matrix  51 
6  Point    15IJ 

5;i  Point  1509 

XHXHZHXHXHZHZHZH 

12  Point    1-11,1 

SKlSKISKlSKlSKISKJSKiSlXi 

6  Point    1-412 
12  Point   1-144 


14  Poiiil   1S47,1 


^.-e  .ilso  Bonier  Matrix  =ii4 
H  P I  i  ";-i 

See  also  Bonier  Matrix  -li'l 
12  Point  1  =..^4 


.S  Point   I  =f-:U 


See  also  Bonier  Matrix  403 
12  Point  1421 


1     '     |-,,,nl      ■    1     f! 

=Jr=Jr=Jr=:Jr=Jr=ir=ir=Jr=Jr=Jr=Ji^ 


^JT^^ 


Jr=Jr=Jr=^r^r=^r=Jr=Jr=Tr= 


r.    I'oinl    I   II  1 

5SSE5HSHSH5HSa5H52SZ5HSH5E5H5SSRSHFHSHSZ5H5 

See  al--..  Bru.lf-r  Matrix  7- 
1,  Point   1411'! 

feMaM3jaMaMSM3MaMaMaMajaMaiaiaMSM2JSM3] 


See  also  Bonier  .M.itr 
12  Point  1401) 


6  Point  1514 

See  also  Border  Matrix  5.1 
0  I'oint  U14a  i,  Point  l,1141i 

6   Point    1  Mi7 

-See  also  Border  .Matrix  50 
6  Pmnl  I45X 


See  also  Border  Matrix  .50 
4  Point   l.lliy 


See  al^o  Border  Matrix  2 
4  Point   1500 


See  also  Border  Matrix  5ii2 
Point  I.iooa  I,  Point  1  ill 


8  Point  1840i 


12  roint  i-i;; 

@(§)(§)(§)(§)(g)@@@(i)(g)(i)(@)@(i)(©) 

6  Point  1457 

(jX?)®®®®®0®®®(iXi)®®®(S^^ 

See  also  Ilcn.ler  Matrix   I^ 
(.  Ponii    1441 


See  also  Bonier  .Matrix  I  >^ 
6  Point  1441  a 


1129 


Matrix  Slides  ■  linotype  decorative  material 


ft  rnint   14.1  J 

00000000000000000000000'~00000000 

See  also  Border  Matrix  5 


oooooooooooooooooooooooooooooooo 

See  also  Border  Matrix  10 

5  roiiit  14J0 

CK><><><><><>0<>CK><><KK>CK><>CH>(>(>^^ 

See  also  Border  Matrix  9 

6  Point  1-tJOa  6  Point  1430  b 

^<><KXKK><><K><K>C)-0-CM         H>0<KK>0<><>-0-C>-<>CKK>s, 


ooooooooooooo 


X  Point  1301 
ooooooooooooooooooooooooooooooooooooooo 


12  Point  1305 


10  Point   1jU7 


See  also  Border  Matrix  209 
8  Point  1299 


6  Point  1304 


See  also  Border  Matrix 
5  Point  1303 


See  also  Border  Matrix  16 
4  Point  1302 


10  Point  1295 

»■■■■■■■■■■■  w^rm 


6  Point  1358 


4  Point  1353 


See  also  Border  Matrix  207  and  2o7'j 
6  Point  1360 



See  also  Border  Matrix  117 
3  Point  1351 

See  also  Border  Matrix  1 1 1 
6  Point  1351  a  C  Point  1351  1) 

24   Poini    1  (.X4a 


B 


18  Point  1369a 


m: 


13  Point  13S0a 


14  Point  1845 


14  Point  1845  a 


12  Point  1844 


12  Point   1 844  a 


X  Point   137611 


I'. .1.11    1  174  I, 


P. .lilt   1374  K 


8  Point  1373  L 


WAVE  RULE 

Matrix  Slides 


2  Point  104 

12  Point  104  b 

2  Point  105 

6  Point  156 

2  Point  157 

3  Point  161 

3  Point  158 

2  Point  102 

2  Point  126 

6  Point  126a 


6  Point  126a  sc. 


6  Point  126  b 


6  Point  126b  s.i 


Matrix  slides  ivith  2.  3  or  i  point  face  will  cast  on  the  edge  oj  slug  bodies  '•  point  and  larger 


1130 


LINOTYPE    DECORATIVE    MAIERIAL    •    Matrix  SUdcS 


X  I'oiiil   I.M 


S  I'oint  MJ8 

Sec  ;iIso  Borik-r  Matrix  M) 
?;;  I'nini  l.!57 


IJ    I'oilll    I  'llllh 


WlHIHlHt%^lHlHtWtit%%%W4 


6  I'ulMt    IXJ/ 

s  I'. .lilt  \y.ii 

See  also  liuider  Matrix  .in? 

I)  riiini  l^;J2a  i.  roim  ix2-' ii 


•1    1'. 

inl 

1  N  S 1 

6  l'< 

iiit 

18S8 

1 1  r 

lint 

l.SSli 

s  I>, 

int 

171J 

▼      ▼      ▼ 

4  r. 

lint 

170.x 

T'^T' 

▼    ▼ 

▼    ▼■ 

A   P. 

nil 

171II 

6  r 

lint 

14J 

0  r 

lint 

159 

6  !•( 

iiit 

1 59  a 

See  alsii  Bonier  Matrix  162 

-1    I'.lHll     ISIS 

5  I'oint  1718 


3  I', .int  iSIX 


l^ 


r..iMi  1X1 5.1 


-■■■ :    roilll    IXIO 

See  also  l!,,nlei    Matrix   IJil 
(,  I'oint   IXU.a  ti  I'oint   ISlljI) 


C  I'. .int   1717 

See  also  linrder  Matrix  74 
12  I'oinl  1774 


12  Toinl  1774t 


See  also  lioriler  Matrix  2X 
4  I'oint  1  7(.'i 


4  I'oint   1751 


Sec  also  Hinder  Matrix  411 
f.  I'oint  I7l>,i 


(,  I'o.nl    1  r5s 

TTTTTTTTTTTTTTTTTTVTTVTVVTTTTTrT 


Sec  als,,  ll,.ulei    Matrix   iiil 


1131 


Matrix  Slides  ■  linotype  decorative  imaterial 


Reverse  Wave  Rule  Matrix  Slides 


1.   I'.iMil    1,5>'J 

See  also  Borde 
6  Point 

■  Matrix  116 
1383 

See  ; 

1^,.   IJoi-dc 
(.  I'iniit 

Matrix  1  14 

See  ; 

Imi  Horde 
6  Toint 

Matrix  lis 
1377 

^m 

Ij    I'uillt 

I37X 

12  i'oint  \2US 


/v\/v^/VvAA/vv  A/ 


12  I'oiiU    I207K 
•^ 


12  I'oiiil   I2IJ7L 

z 


18  Point  It^JS 


RUGGED  RULE 

Matrix  Slides 


fa  Poinl  17y7as.c.   l  Reverse) 


_, 

'oiiil 

7S1 

3 

Point 

790 

12  I'oint  17911a 


12  Point  1790h 


12  Point  17-11  a 


12  Point  1791  b 


5  Point  17y2 


12  l'i>int  1792a 


12  Point  1792b 


P.iiiil  1793 


12  I'nint  1793  a 


12  Point  1793b 


;2  Puiiii    '779  1 


f 


6  Point  1789  a  j.e.   (Keversel 


f . 

, 

12 

Point  1788  a  -^.e.   1  Reverse  i 

(.    PmHU    IMIII 

6  P.iiiit  179^ 

10  Point  1794 

^ 

12  i'oiiit  17'/(. 

l.P,,,,,,,.. 

. 

s? 

s 

8  Point  1204 


12  Point  1783b 


VM^fvV^^^VVMff#r^^^^HVvMMfvV^^^H9VMMfvV^^^MVWM^0FV^^^M^a(  V 


See  also  Tinrde-  Matrix  216 

See  aKo  liorder  Matrix  217 

See  also  Border  Matrix  215 
8  Point  1778 


See  also  Border  Matrix  218 
10  Point  1778  a 


12  Point  1780  b 
12  Point  1336 


Matrix  slides  with  2,  3  or  !,  point  face  will  cast  on  the  edge  oj  slug  bodies  j  point  and  larger 


1132 


LINOTYPE    DECORATIVE    MATERIAL    ■    Matrix  SUdi'S 


MISCKLLANEOUS 

Matrix  Slides 


\i  Point  1482 


IMlMIMlMlMlMlMlMlMlIilMlMlMMMll 


s.-p  .-iKo  I!.ii-,li.|-  Matrix  111  =  ' 
IJ  I'uiiit  mxja 


ilieiMlMlMlMlMlMIMIMIMlMlMIMlIlIi 

IJ  I'diiit   USO 

mmmmmrnmmwmmmmmi 

'.:  rmiii   l-t:-'ii.i 


See  also  ll.iiilcr  Matrix  1051 
i<  roiiil  1368 


]_'  r..Mit  MK4 


■-,■,■  :,!,..  r.^iriliT  Matntc^  Hi''''  ami  1  Inn 

I.   I'.iiiit   146S 

<-<-<-<-<-<-<<■<■<<  <<<<<<<<<<<  <■<-«■<■<■«■«■ 

See  also  border  Matrix  S') 

I,  I'nillt  14.W 

rinrrrtrrrrirrznnrrroirsinnr^ 

See  aK..  H.ir^lev  Matrix  f,2 
(,  I'cliit  143')  a 

nnrroinnnnnnnnr 

5'j  Point  1416 
See  aK(i  B<jrder  Matrix  ''7 

(.    Pniiil    1415 

)*(j'<_>^o^j_rt_rt_rt_>*j_rt_i*tj^j.^ 

See  aN..  llnnlrr   Matrix  S'.' 
',  I'Minl   I4ji) 

See  alsti  Punier  Matrix  '«. 
r,  Point  1467 

1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1  r  1 1 1 1 

See  aN"  Pmrder  Matrix  (.5 
(,  P.iiiil   1334 

I.  I'nint  13-'7 

c^KS  C"*^  c->J  c-*^  c^*vS  cs~J>  (^fJ>  (^♦o  c^KO  <^f-o  C-+J  of~9  (>♦-. 


•a.awiiiiiiiiiiiiijiijaiiiiiiuiiiiiiiiiiiiuiiuiNiiiiiiuiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiuiiiiiiiiiiiijiiiiiu 


4   Pcinl   13,X1 


^e===5e= 


=?F 


^€= 


=3e= 


Point  I5J6a 


6  Ptiinl  1427  a 


4  I'oilit  171' 


»() 


I'nillt    1342 


C  p. .nil    13421. 


>()< 


(,  I'Miiit   1341  1. 


IX  Point   135n 


>()< 


>{)< 


•()< 


>()< 


n<  >n<  >r)<  >n< >n< 


X  Pnint   1332  a 

< — »n< >n<  >r)<  >nr 


'.  P.niit    1331 

o< >r)< >n< >n< >o< >n< >n<- 


I,  I',. lilt   1331  a 

^    >n<         >n<         >n<         >n<         >n<         :>n<- 


li  Point  133n 


(.  Point   1330a 


•()* 


►()* 


•()« 


«•()- 


•()* 


(  )-^^»'(  )<«iB^C)<«M»'()-< 


•()« 


K)-« 


•()<«Hi»()« 


'.   P..int    1  Mn 


'.  Point    1  Mill. 


►(O 


fi  Point   133') 

'.  P.. lilt   l,vi''h 
^i»'()-4Hi»'()-^^()-«H»'<)-«i^()-^^()'^^()-^^(0 

f.  Point  1338 


6  Point  I33Ra 


fi  Pinnt  13381) 


Matrir  ^Inlrs  with  2,  .'V  r>r  i  point  fan   trill  rast  on  tin  nhir  of  sluii  tKxlirn  3  point  (nut  Itirf/ir 


1133 


Matrix  Slides  ■  linotype 

DECORATIVE    MATERIAL 

J  Point  1313 

24  Point  1531  a 

1,  Point  1313a                                             6  Point  1313b 
+„_.. „_„_„ „ ,_„ ^ 

3  Point  1310 

H  Point  1530  a 

See  also  Border  Matrix  14 

^.AAAAAAAAAAA^ 

6  Point  1310a                                             6  Point  1310b 

111     PMMII      13^'' 

m^^A^^^A^k^^^^A^ 

i.H  j.B  a.n  a.m  a.m  a.m  h.b  a.m  a.m  a.m  a.m  a.m  a.m  ■» 


10  Point  1359; 


[n]i.B  a.H  j.H  j.B  a.m  a.m  a.n  a.w  a.a  a.m  a.m  a.m  sm 


\fyr\r\f\f\f\f\fy^\t'Kf\fXfXf\fyf\f\f\f\r\r\r\f\fXf\f\f'vr\r\f\r\f 


See  also  Border  Matrix  157 
6  Point  1372  b 


\rvf\f\r\f\f\rw\fw\r\fXfXf\rxf\r\f\f\f\r\f\f\f\f\f\f\f\f\r\f  a 


12  Point  1515 


12  Point  1515a 


12 

'oint  1515b 

MmimammmM 

12  Pmnt  1514 


12  Point  1514a 

10  Point  1513 

See  also  Border  Matrix  221 
10  Point  1513a 


12  Point  1394 


IS  Point  2001 


12  Point  2000 


fi  Point  1725 


10  Point  1435 

See  also  Border  Matrix  223 

11  Pi  lint  14X1^ 

4*  'ih  'ih  4*  4'  4*  4?  4?  4?  4*  4*  4*  4*  4*  4*  4? 

n   Point  Mfifili 

4?  4?  4*  4*  4"  4*  4?  4*  4"  4*  4*  4*  4?  4?  4?  ^ 

(i  Point  1424 

ri?  r»* 'r  rr  *!?  *it '1' 't '1' '1*  *!? 'i*  "i*  *i7  rl*  rt  Ht*  rt  *!? '1' '1*  "^ '^ '4' 'it' *!?  *!?  *!* '1' '4* 'i* 'i^ 

See  also  Border  Alatrix  24 


10  Point  1528 a 


12  Point  1479a 


12  Point  1481 


12  Point  1481  a 


iilSliii  iiigiiii  iiiSiiii  liigiiii  iiiSiiii  iiigiiii  iiigiiii  iiisiiii 


12  Point  1437 


12  Point  1489 


12  Point  1489  b 


8  Point  1423 

•^«  >^*  •J*  >J»  •  J«  •  J*  >J*  *%  •% »%  >%  •%  •%  •%  "I*  •!•  *I*  *I*  *I*  *I*  *I*  *I*  *I*  *I* 

See  also  Bonier  Matrix  402 
I.   I',  lint    1422 

See  also  Border  Matrix  88 
6  Point  1420 

See  alsi,  P.order  Matrix  46 
6  Point  1419 

See  also  Border  Matrix  81 
6  Point  1522 

See  also  Border  Matrix  67 
5  Point  1801 


4  Point  1805 


6  Point  1810 


1134 


LIXOTYPE    DECORATIVE    MATERIAL    •    Matrix  SVldeS 


6  Point  1429 

iig(i(i(i(i[i[i(Sia[i(iBig]iiia[aa(iii(i(i[i!iiigiB]iaia[isi[i 

See  alsci  liunler  Matrix  41 

I-  I'm. lit  :v, 


f>  Point  1321 


12   I'Minl    140  = 


6  I'uiilt   1464 
Tr^TffI^'T1lltT1Il^.'T1iI^'T^il^T^rr^T^1^ 


5',  I'nint  1463 

See  also  Border  Matrix  19 
6  Point  1462 

See  aKo  Border  Matrix  22 
12  I'nint  142.'<a 


See  alsii  Border  Matrices  ?24  and  52414 
IS  Pi  .lilt   14X5li 


12  Point  14S3  1. 


vx «»  V/'  «»  S.X  «t 

A »^<  X  »i*  X  9Li 


12  I',  lint   I'Ji 


6  Point  134,1 


IS  Point  1S3( 


IS  Point   IS31  a 


i^ 


§,,^;   :,,^^^^>^\\\\\\N\N«SS^S»v\\\\N\\\\NX-«SS5^ 


10  Point  1442 


14  Point   1 442 


12  Point  14VII 


cS 


LLLLULLLllJI]  S]   [S  1 1 1 1 1 1 1 1 1  UU  S\   [] 


^ffv*^"  •^£>^^^^  ^fiC"^'  ^ac^B!*^'  ^^rw»*^'  ^2 

^^^>r.^,^     ^^•J'f.i,-^—    ^^-Nrwi^i.    ^*">'^w:;^;^    ^^>r.^-^     ^^ 


12    F'oillt   lOlll 


6  Point  930 
*,♦ 
♦♦ 

See  al<io  Border  Matrix  50'/S 

YULETIDE 

Matrix  Slides 

18  Point  2010 

fT^  g^jpB?^  <2:;«5KN  (i-«5sr\  cjijirN  cj 


riNo  Border  Matrix  7'6I. 
IS  Point  2000 


See  aNo  Border  Matrix  796  R 

12  Point  1007 
S  Ci*B^  <!=*S^  «=*W^  «=«B?^  <!j»B^  8=1 


>.ee  also  Border  Matrix  li)S6L 
12  Point  1007  h 

N  «Jp!?J>  «i»!?^  <!j»!S^  «=»B^  <^ 


12  Point  1006 

t?  ('■^^SK;?  ('^Sb^  (''J^BkP  (^^SSfc? /'^SSKi? /''IS!*^ 


Sec  aKo  Boril.-T  M.it.x  iiis,,R 

12    Ponit    IIIM..  ;, 


1135 


Matrix  Slides  ■  linotype  decorative  material 


18  Point  2015 


See  also  Border  Matrix  7',>5  L 
18  Point  2011 

See  also  Border  Matrix  795  R 
12  Point  1009 

See  al^io  Border  Matrix  10S5L 
12  Point  1008 

mMmm.mm.mmmmmm.mmmm. 

See  also  Bc.rder  Matrix  I0S5R 
18  Point  2008 

^ir  al-.i  Bonier  Matrix  7'.M 
18  Point  2008  a 

See  also  Border  Matrices  7v4  and  /9A\i 
12  Point  1005 

Sec  also  Border  Matrix  lOHS 
12  Point  1005  a 

See  also  Border  Matrices  1088  and  KlS'R.J 
18  Point  mil 


Border  Matrices  "-l-I  and  744' 
12  Point  1010 


]:  I'onll    111]  Ob 


See  also  Border  Matrices  1052  and  10521'; 
6  Point  1012 


6  Point  1012b 


12  Point  1002 


4i:^^inrlRrla^-^%°l^nr^$R-^3ir-^^^ 


^  mm.m.m.m.m.m. 

t)W  12  P.iint  IfiOf,  and  1007         12  Point  1008  Sft 

e)W         4S»'  12  Point  1005a  12  Point  1010b  ^  _SR 


4» 


12  Point  1002 


S5 


PATRIOTIC  DESIGN 

Matrix  Slides 


12  Point  1361 


f.  Point   14  =  1. 

6  Point  1452 
••••••••••••••••••••••••••••••iHt 

6  Point  1455 
6  Point  1451 
6  Point  1454 
36  Point  7002 


^ 


See  also  Border  Matrix  1203 
26  Point  4501 


see  also  Border  Matrix  1101 
28  Point  5001 


See  also  Border  Matrix  1302 
IS  Point  2006 


See  also  Border  Matrix  721 

12  Point  1425 

^    ^    ^    "^    ^    "^    ^ 
See  also  Border  Matrix  lli34 

12  Point  1443 

Illlfffll 
See  also  Border  Matrix  533 

6  Point  1418 

fc   te   ta   fc   *   fc   te 

See  also  Border  Matrix  107 


36  Point  Matrix  Slide  7003 


^^ 


1136 


LINOTYPE    DECORATIVE    MATERIAL    •    Matrix  SVldcS 


TAPERED  DASH  A4ATRIX  SLIDES 

Tapered  Dash  Matrix  Sliiics  lia\c  tlic  design  centered  on  three  different  lengths:   13,  26'/:  and   ?o 

ems.  1  he\'  niav  be  cut  to  any  desired  length,  conditioned  upon  the  length  of  the  design  pro[K'r. 

1,  I'onit  Jll.lJ 

'.  I'oint  199 

6  I'oint  20J1 

6  Point  998 

(,  Point  997 

f,  i'oint  996 

6  Point  IttlR                                                                                                                            5  IV>int  ini  5 

,„,,-.,                                                                                                                  6  Point  1017 
6  Point  -11/2 

5  Point  9S5 

,     .                                                                                                                                            6  Point  91,3 
f,  Point  3071 

JPo,nl9.4                                                                                                                             I0Pon„9R2 

6  Point  2070                                                                                                                   5Pn,nt9in 

NEWS  DASH  MATRIX  SLIDES 

The  follow  ing  News  Dash  Matrix  Slides  are  made  to  cast  up  to  a  6-point  bod\ ,  with  any  desired 

lengtli  U|)  to  an  8-cm  length  of  face.  Linotype  News  Daslics  may  be  ordered  with  tlte  face  centered 

on  an\'  length  of  slide  up  to  and  including  30  ems. 

If  a  siiiic  is  tiesircd  to  cast  a  dash  longer  than  8  ems,  an  extra  charge  will  be  made  for  the  addi- 

tional length  of  face. 

Flain  Dashes 

40(1                                                                   401                                                                   402                                                                   40.1 

■ln.4                                                                         4(1=1                                                                        406                                                                          )(I7 

411 

Parallel  Dashes 

301                                                              303                                                            J?l                                                               J^! 

,1^6 

Oxford  Dashes 

503                                                              505                                                             50Jt                                                              -,-M 

^K!                                                                   =!( 

Matrijr  nlidrs  with  ^.^S  or  4  point  fare  irill  rast  ov  thr  rdqr  of  shiff  bodies  '>  point  titid  larger 


1137 


Adatrix  Slides  ■  linotype  decorative  material 


MATRIX  SLIDE  BRACES 

See  page  1 1 40  / o>-  other  liesigns  of  braces  or  nrihiii/evtal  hrackets 

1,  Toint  1138         30  Picas 


f.  I'oint  11,16         27  Picas 


6  r..iiil  ll.M         24  Picas 


6  I'oint  1126         15  Picas 
6  Point  1124  13  Picas 

6  Point  1123  12  Picas 


6  Point  1122  llj/i  Picas 

S'/,  Point  1120  lOyi  Picas 

S<A  Point  1119       10  Picas 

S'A  Point  1118       9'/j  Picas 

5  Point  1117       9  Picas 

5  Point  1116  S'A  Picas 

5  Point  1115       8  Picas 


5  Point  1114       7'/2  Picas 


4  Point  1113       7  Picas 


4  Point  1112       6'A  Picas 


4  Point  nil       6  Picas 


4  Point  1110       5'A  Picas 


4  Point  1109       5  Picas 


3  Point  1108       A'A  Picas 


3  Point  1107       4  Picas 

3  Point  1106  3'/2  Picas 

3  Point  1105       3  Picas 

3  Point  1104  2'/i  Picas 

3  Point  1103       2  Picas 

3  Point  1102  1^5  Picas 

3  Point  1101       1  Pica 


Braces  in  matrix  slide  form  are  carried  in  stock  with  the  design  centered  on  five  different  lengths, 
12,  13,  24/2,  261/2  and  30  ems.  They  can,  however,  be  cut  down  to  any  desired  length,  obviously 
conditioned  upon  the  length  of  the  design  proper.  The  following  braces  made  on  constant  end  of 
slide  and  are  positioned  so  that  thev  can  be  cast  on  a  3  point  slug  if  necessary. 


3  Point  1079         30  Pica 


6  Point  1073         16^^  Picas 


6  Point  1071 

16  Picas 

6  Point  1069 

15/.  Picas 

6  Point  1067 

15  Picas 

4  Point  1066 

\Ay,  Picas 

6  Point  1063 

14  Picas 

6  Point  1061 

13H  Picas 

6  Point  1056 

12'/3  Picas 

6  Point  1055 

12  Picas 

6  Point  1054 

11?^  Picas 

6  Point  1053 

11  Ki  Picas 

6  Point  1052 

llKj  Picas 

6  Point  1051 

11  Picas 

6  Point  1050 

lOJ^  Picas 

6  Point  1048       lO'/j  Picas 


1138 


LINOTYPE    DECORATIVE    MATERIAL    •    Matrix  SluieS 


OXFORD  RULE  MATRIX  SLIDES 

(ORNAMEN  lAL  DASIll -s) 

All  liiiorypc  Oxforti  Rule  Ornamental  Dashes  arc  punclied  on  the  right-hand  side  of  v>  '"i  slides. 
In  ordering,  please  specify  the  number  (1472c)  and  the  length  in  ems  desired. 

6  Point   1472c  (.iO  ems) 


6  rdinf  1472c  (29  ems) 


6  Point  1472c  (28  ems) 


6  Vtnnt  1472c  (27  ems) 


6  Point  1472c  (26  ems) 


6  Point  1472c  (25  ems) 


6  Point  1472c  (24  ems) 


f.  I'oint  1472c  (23  ems) 


6  I'oint  1472c  (22  ems) 


(t  Point  1472c  (21  ems) 


6  Point  1472c  (20  ems) 


6  Point  1472c  (19  ems) 


6  I'oint  1472c  (18  ems) 


6  Point  1472c  (17  ems) 


ORNAA1ENTAL  DASH 

Matrix  Slides 

Ornamental  13asi-i  .Matrix  Slides  wiiich  follow,  have 
the  design  centered  on  three  different  lengths:  13, 
26 '2  and  30  ems.  They  nia\'  be  cut  to  any  desired 
length,  obviously  conditioncii  Lipon  tiie  lengtii  of 
the  liesign  proper. 

5  Poinl  041 


10  Point  988 
10  Point  99U 


Point  989 


8  Point  991 
8  Point  992 
5  Point  945 


i'/i  Point  9M 


5';.  Point  ';'i; 
■    ^•»' — — 


S'A  Point  994 


Matrix  alidrs  with  2,3  or  4  P""'*  /«<■(■  will  rant  on  the  ithjc  of  shiii  bodies  n  point  and  larger 


1139 


Matrix  Slides  ■  linotype  decorative  material 


5  Point  953 

5  Point  949 

SYi  Point  946 

5  Point  939 

5  Point  929 

5^2  Point  962 

5  Point  970 

4  Point  921 

6  Point  942 

5  Point  943 

4  Point  944 

S  Point  926 

5  Point  925 

5  Point  951 

5  Point  963 

5  Point  924 

5";  Point  984 

5  Point  983 

5  Point  9S0 

5  Point  919 

5  Point  933 

3  Point  920 

3  Point  923 

5  Point  910'/; 


6  Point  967 

6  Point  966 

6  Point  965 

5  Point  940 

5  Point  912 

5  Point  911 

4  Point  906^^5 

^ 

6  Point  1016 

6  Point  917 

4  Point  909 

5  Point  907 

4  Point  903 

4  Point  904 

4  Point  918 

4  Point  902 

4  Point  901 

4  Point  922 


ORNAMENTAL  BRACKET  AlATRIX  SLIDES 

Made  30  picas  long,  with  corner  at  each  end  of  slide. 


IS  Point  1185c 


<: 


i= 


18  Point  1187c 


18  Point  1186c 


^ 


i 


1140 


LINOTYPE    DECORATIVE    MATERIAL    •    Matrix  SUdcS 


CUT-OFF  RULE 

Matrix  Slides  with  Corners 


6  Point  40r,a  (Special) 


6  I'ciint  4(161)  (Spciial) 


6  F'oint  4(J()a  (Special  No.  2)  6  I'oint  4UU  Ij  (Special  No.  Ji 

4 ♦ 


6  Point  400a  (Special  No.  3)                 6  Point  4001)  (Special  No.  3) 
4 ^ 


f)  Point  400a  (Special  No.  1)                 6  I'oint  4001)  (Special  No.  1) 
<$> ^ 

6  Point  401  a  (Special  No.  4)                 6  Point  401  1)  (Special  No.  41 
® ® 

8  Point  402  (Special) 
+ 


6  Point  402  (Special) 
+ 


BOX  HEADING 

Matrix  Slides  and  Rules 

BoxetJ  he;uis  and  boxes  incorporating  bod\'  matter 
can  be  casilw  quicklx'  and  accurateh'  composed  \\  ith 
Linotype  iMatrix  Slides  and  Rules  for  Box  Headings. 
The  matrix  slides  are  available  in  hair  line  (400c 
Special  No.  30)  and  one  point  faces  (404c  Special 
No.  25),  either  round  or  square  corners  in  standard 
newspaper  measures. 

rhe  Vertical  Extension  Rules  (down  rule  mat- 
rices) are  available  in  the  point  sizes  shown  at  the 
right.  The  same  down  rules  can  be  used  with  either 
round  or  square-cornered  matrix  slides,  hi  orilering 
specify  point  size,  triangle  number  and  character 
number  given  below. 

6  Point  400c— .003^4   (Special  No.  30) 


( 

12  Point  400c-  -.OO314   (Spec-ial  No.  301 

^ 

( 

6  Point  s.c.  400c— .003ici    (Special  No    301 

\ 

1                                                                              1 

12  Point  s  c.  4()0c      .O03'j    (Special  No.  301 

1                                                                                                          1 
6  Point  404c— .014  (Special  No.  25) 

r 

12  Point  4()4c--.014  (Special  N.,    25) 

> 

f 

6  Point  s.c.  4a4c— .014  (Special  No.  251 

^ 

12  Point  s.c.  4()4c  -.014  (Special  No.  25) 

1 

1 

VERTICAL    EXTENSION     KIJI.KS     (A348) 

Character  37,  Special  No.  30  (A  348) 


10         12         14         18         24         36 


Weight.  .003'. 


Character  37,  Special  No.  25  ( A348) 

I,  S  10  12  14  l.-*  24  ,!()         30 


'       I.     I       II 


WeiKlit.  .014 


I     BOX  HEADINGS     | 

V J 

OF^EN — To  show  make-up 


AS  ASSEMBLED 


CI.OSEU— As  they  wniil.l  i.rint 

The  above  example  is  made  uv  with  6  point  Matrix 
Slide  No.  400c  (Special  No,  30).  and  M  imint  fliarac- 
ter  No,  37  (Special  No.  30)  for  the  \'f'rtirnl  exten- 
sion rules. 


BOX  HEADINGS 


OPEN — To  show  make-up 


AS  ASSEMBLED 


ILOSED— As  the 


)ii!d  i-rint 


This  example  is  set  with  12  point  Matrix  Slide  No. 
404c.  s.c.  (Special  No.  25),  and  14  point  Character 
No.  37  (Special  No.  25)  vertical  extension  rules, 


FAC-SIMILE  SIGNATURE 

Matrix  Slides 

Not  many  Linotype  customers  are  aware  that  Ma- 
trix Slide  fac-similes  of  hand-written  signatures  ma\' 
he  made  to  order.  The\  nia\'  be  made  in  an\-  point 
size  up  to  36  point,  and  ma\-  be  ordered  from  tiie 
nearest  Linotype  Agenc\',  price  on  recjuest.  .\11  that 
is  needed  is  the  signature  written  in  black  ink  on 
stiflF  white  paper.  The  Linoty[)e  fac-simile  is  an  exact 
replica,  as  nia\'  be  noted. 


1141 


Arrow  Matrices  ■  linotype  decorative  material 


1142 


Lmotype  ARROW  Matrices 


Character  2oor(A358) 

,,  r>.  JO  Pt.  9  Pt. 


II  Pt. 


8  Pt.       7  Pt.      6  Pt.   sy,  Pt. 


24  Pt. 


18  Pt. 


> 


12  Pt. 


> 


Character  200L  ( A3S8) 
11  Pt.  10  Pt.  9  Pt.  8  Pt.         7  Pt.       6  Pt.   55^  Pt. 

-<r^    ^^   -^m    <-^   ^-^   ^«    ^'"" 


< 


24  Pt. 


< 


18  Pt. 


12  Pt. 


^ 


Character  201  r  ( A358)  Character  205  l-t  ( A358) 

10  Pt.         7  Pt.        "  6  Pt  6  Pt.    c 

Character  205  u  ( A358) 
6Pt-     A 


10  Pt. 


Character  201  l  ( A358) 


10  Pt. 


,.^^       ^       ^       C*araf?er205U-T(A358) 

"    '"™  6  Pt.       ^ 

Character  202  R  ( A358)  Character  205  u-d-x  ( A358) 

inpt.    6j|t.  gp,       I 

Character  205  d  ( A358) 
Character  202  1.  ( A358)  8  Pt.     6  Pt. 

10  Pt.  6Pt.       '  y     y 

Character  205  d-t  (  A3S8) 
Character  203  r  (A 358)  ^  p*-     • 

v!'     t^  '■  Character  206  r  (  A358) 

8  Pt. 

Character  203  r-t  ( A 3 58 )  ^^^ii^ 

CAijracfer  207  R  (  A358) 
Character  203  l  ( A358)  12  Pt. 

6  Pt.   5'/,  Ft.  ^ 

<-      ^  ^^ 

Character  203  l-t  (  A3S8)        Character  207  l  ( A3.>8) 

6Pt.     -^  12^- 

Character  2  04  r  ( A  3  5  8 )  ^^ 

12  Pt  1"^  Character  208  u  ( A 358) 

W^m^^^  ^  10  Pt.  8  Pt.  6  Pt. 

T    t    t 

Character  204  r-t  ( A358) 

12  Pt.  10  Pt.  C/Mrac«r  208  D  (A358) 

■^■^^^         '^■^^_  10  Pt.  8  Pt.  6  Pt. 

Character  204  x  { A358)  Character  209  R  ( A358) 

'2  '''■  10  Pt.  9  Pt.  8  Pt.  7  Pt.  6  Pt. 

Character  204  r,  ( A358)  Character  209  l  ( A3S8) 

12   Pt.  10  Pt.  jQ   p,      g   J,,      g    p,      7  p,     5  Pt 


Character 

12  Pt 


^^^"  ^  ^ —    ^^ —    ^ — 

204  i.-T  ( A3S8)        Character  209  r-l-x  (  A3S8) 

't.  10  Pt.  10  Pt.     9Pt. 


Character  209  u  (A358) 

Character  205  R  ( A358)  8  Pt.  7  Pt. 

6Pt.     >  t         T 

Character  205  r-t  ( A358)  Character  209  d  ( A358) 

6  Pt.     B  8  Pt.   7  Pt. 

Character  205  r-l-x  ( A358) 

^  P*-    —  Character  2 1 1  u  ( A358) 

Character  205  l  ( A358)  'f''    *  J'' 

6  Pt.     <  J          T 


Character  2 1 2  l  ( A  3  5  8 ) 
10  Pt.    8  Pt.  syi  Pt. 


Character  2 1 2  r  ( A  3  5  8 ) 

8  Pt. 


Character  227  u  ( A358) 

12Pt.   lOPt.  9Pt.   8Pt.    6Pt. 
^         A         J         J         I 

Character  227  d  (A 358) 

6  Pt.      J 


Character  2iol-u(A358) 

Character  212  u  (A358; 

10  Pt.     8  Pt. 

6Pt. 

12  Pt.       8  Pt. 

\      N 

n 

t          ^ 

Character  2ior-u(A358) 

10  Pt.     8  Pt.     6  Pt. 

Character  21:^  (A358) 

Z'     ^ 

;» 

12  Pt.      8  Pt. 

C/wrarter  214  (A358)                      y 

12  Pt.      8  Pt.                                                P 

Character  2 10  l-d  (  A 358) 

10  Pt.     8  Pt. 

6Pt. 

i/       ^ 

jc 

Character  210  R-D  ( A358) 

r  ^ 

10  Pt.     8  Pt. 

6  Pt. 

\      N 

•!* 

Character  215  ( A358) 

8  Pt. 

Character  2 1 1 

A(A358) 

J 

9  Pt.     6  Pt. 

/        ^ 

Character  2 16  ( A358) 

8  Pt. 

Character  2 1 1 

b(A358) 

u 

9  Pt.     6  Pt. 

/<          ^ 

Character  217  ( A  3  5  8) 

12  Pt.    8  Pt. 

Character  2 1 1 

9  Pt.     6  Pt. 

c(A358) 

t-   ^                   ! 

/T           ^ 

Character  218  (A 358) 

Character  2 1 1 

R(A358) 

12  Pt.     8  Pt. 

9  Pt.     6  Pt. 

J         -f 

Character  111  e(A358) 

9  Pt.     6  Pt. 

Character  2iq  (A358) 
12  Pt. 

Sk       ^ 

^ 

Character  2 1 1 

K(A358) 

Character  22o(A3^8) 

9  Pt.     6  Pt. 

12  Pt. 

\          ^ 

r 

Character  2 1 1 

9  Pi.     fi  Pt. 

G(A358) 

Character  221  ( A 3 5 8 ) 

\          ^ 

12  Pt. 

^                        i 

Character  222(A358)                      f 

Character  2 1 1 

D(A358) 

9  Pt.     6  Pt. 

i        ^ 

12  Pt. 

Character  2 1 1 

H(A358) 

S 

9  Pt.     6  Pt. 

Character  22^  (A  358) 
12  Pt. 

Character  2 1 1 

J(A358) 

h 

9  Pt.     6  Pt. 

^       ^ 

Character  22^  (A 358) 

Character  2 1 1 

K(A358) 

12  Pt. 

1 

9  Pt.     6  Pt. 

^       ^ 

Character  22s  lA^iSS) 

Character  2 1 1 

L{A358) 

24  Pt.       18  Pt.    12  Pt.    10  Pt. 

9  Pt.     6  Pt. 

^^'^'^ 

Character  2 1 1 

m(A358) 

1 

9  Pt.     6  Pt. 

Character  225  r  ( A358) 

^          ^ 

24  Pt.      18  Pt.    12  Pt.   10  Pt. 

Character  2 1 1 

N(A358) 

/^/^     ^       ^ 

9  Pt.     6  Pt. 

f            ■ 

\           "^ 

■ 

Character  2 1 1 

9  Pt.     6  Pt. 

P(A358) 

Character  226D  ( A358) 

12  Pt.    11  Pt.  10  Pt.  9Pt.    8Pt.  6Pt. 
t         t         t         I         J          ^ 

LINOTYPE  DECORATIVE  MATERIAL  •  Arwiv  Matrix  SUdes 


ARROW  MAI 

Linotype  Arrow  Matrix  Slides  are  made  in  6  an 
arrow  head,  the  other  carrying  the  feather  (see  A 
Plain  Rule  Matrix  Slides  404  and  407).  The  arrow 

Arrow  iVIatrix  Slides  are  also  available  which  c 
both  the  head  and  feather  sections.  With  a  set  of  tl 
others)  there  is  no  limit  to  the  designs  which  can 

All  Linotype  Arrow  Matrix  Slides  are  made  in  t 
used  in  connection  with  the  corresponding  30-en 
lengthened  to  any  desired  measure. 

6  Point  404(1 

RIX  SLIDES 

d  12  point  sizes,  in  two  parts,  one  carrying  tiie 

irrow  Matrix  Slides  404  and  407,  to  be  used  \s  ith 

s  point  to  either  the  left  or  right. 

ast  both  right  and  left  cur\  es  on  the  shaft-end  of 

lese  (see  Arrow  Slides  404m  and  404n,  and  similar 

3e  worked  out. 

hree  different  lengths:  13,  26'i  and  30  ems.  When 

1  rule  matrix  slide  (404  or  407),  the  arrow  can  be 

12  Point  407(1 

6  Point  404 e 

> 

12  Point  407  e 

r,  Pi.int  4fl4f 

12  Point  407  f 

6  Point  4n4g 

12  I'oint  4(17  g 

6  Point  4(14  li 

12  Point  407  h 

6  Point  404  i 
S                          ^ 

12  Point  407  1 

b  Point  404  j 
^— . 

12  Point  407  j 

tj  Point  4U4  k 

12  Point  407  k 

fi  Point  41)4  1 

12  Point  4071 

6  Point  4114  in 

12  Point  407  in 

6  Point  41)4  n 

12  Point  407  n 

6  I'oint  404  0 

12  Point  407  0 

5  Point  404  p 

12  Point  407  ij 

6  Point  404  M 

12  Point  407(1 

6  Point  404  (Special  Center)  Length  30  ems 

12  Point  407  (Special  Center)  Length  3i)  cm^ 

1143 


Wi^ 


%l^ 


A^ 


mi^  m»^  ^w  ?t!ir  iaji?  ^p:?  ^p?  ^;  j 


W  W 


W  W 

W  W 


W  W 


W  W 

W  W 


W 


^ 
W  W 


W  W 


W  W 

W 


W  W 


^ 


W 


^ 


W 


W 


1 


18  Point  751  L.  751  R.  12  Point  1608,  and  6  Point  514 


w       w 


w  w 

w 
w  ^ 


w  w 


w  w 

w       w 


w 
^ 


w 


w       w 

w  w 


w 


w 


^ 


^ 
w 
w 
w 


w  w 

w  w 

w  w 


w  w 


w         w 


w 


w 


w 
w 


w  w  w 


w  w 


W' 


w^       w 


^       w 

^ 


w 


^ 


w 


w 


w 

-m 

W 

w 

w 

w 

%0 

W 

W 

w 

w 

w 

w 

W' 

W 

w> 

^ 

w> 

w 

w 

W 

W 

w 

w 

w 

w 

W 

w 

LINOTYPE 


ft 


Js 


^ 


The  Linotype  Development 
That  Doubles  Magazine  Capacity 


i 


M 


Linotype  Duplex  Display 


WHEN,  in  1935,  the  Mergenthaler  Linotype  Company  introduced  18- 
and  24-point  duplex-display  matrices,  it  cut  composing-room  costs 
decidedly. 

From  1892,  when  the  first  two-letter  matrices  were  introduced,  until 
1935,  two-letter  faces  were  limited  to  sizes  no  larger  than  14  point.  But  now 
you  can  cast  two  display  faces  from  a  single  font  contained  in  a  single  maga- 
zine. This  means,  of  course,  that  you  can  get  twice  as  much  service  from  a 
font  and  a  magazine,  and  can  conserve  magazine-storage  space,  as  well. 

Four  features  of  Linotype  duplex-display  matrices  are  especially  note- 
worthy : 

1 .  The  faces  are  exactly  the  same  size  as  corresponding  foundry  faces  and  one-letter 
Linotype  faces. 

2.  The  partition,  or  bridge,  between  the  characters  is  more  than  ample  for  the  pre- 
vention of  metal  leakage. 

3.  The  face  in  the  regular  (or  normal)  position  can  be  used  for  two-line  advertising- 
figure  composition  and  cast  overhanging  on  the  regular  advertising  figure  mold. 

4.  The  face  in  the  raised  (or  auxiliary)  position  can  be  used  in  the  same  line  with 
body  faces  in  the  auxiliary  position  and  cast  on  a  solid  slug. 

Duplex-display  matrices  can  be  used  on  any  outstanding  Linotype.  All 
new  Linotypes  shipped  from  the  factory  can,  of  course,  use  such  matrices— 
and  they  have  been  specified  for  almost  every  machine  shipped— an  indica- 
tion of  their  universal  acceptance. 

The  use  of  these  matrices 
is  simple,  as  demonstrated 
by  the  following  illustrations 
and  explanations. 

Here  is  a  line  of  duplex- 
display  matrices.  The  lower 
character  in  the  illustration 
is  in  the  same  regular  posi- 
tion and  alignment  as  the 
character  in  the  normal  position  on  any  two-letter  matrix,  4  to  14  point.  The 
upper  character,  as  shown  in  the  illustration,  has  been  moved  closer  to  the 
lower  lug  of  the  matrix,  to  accommodate  the  increased  size  of  the  character, 


H 


1146 


and  the  alignment  of  that  character  is  the  regular  45-point  standard,  which 
was  established  in  1913. 

All  Linotype  18-  and  24-point  duplex-display  matrices  are  assembled  at 
the  regular  (or  lower)  rail  position  in  the  assembling  elevator,  the  same  as 
the  roman  position  of  the  4-  to  14-point  two-letter  matrices.  If  casting  is  de- 
sired from  the  regular  position,  no  further  operation  is  necessary.  If  the  face 
in  the  auxiliary  position  is  wanted,  the  first-elevator-slide  filling  piece  is  used. 
There  are  no  complications  and  no  new  operations  to  master. 

Illustrated  here  is  the  mold  used  for  casting  duplex-display  faces.  The  only 
essential  difference  between  this  mold  and  any  other  two-letter  mold  is  the 
location  of  the  aligning  groove  for  the  auxiliary  position,  the  same  as  on  a 
standard  45-point  mold. 


Two-Letter  24-Point  Mold 


Note  the  two  matrices  and  their  positions.  This  is  the  way  they  meet  the 

mold  for  casting  — one  casting  from  the  regular  position,  the  other  from  the 

auxiliary  position.  Each  face  is  normally  cast  separately.  To  mix  two  faces  in 

the  same  line,  an  attachment  (an  exclusive  Linotype  feature)  is  required. 

Molds  can  be  provided  to  cast  either  18-  or  24-point  slugs,  or  adjustable 

for  both  bodies,  in  either  the  30-  or 
42-pica  range  of  the  four-mold  disk, 
or  in  the  24  V2  -  or  30-pica  range  of 
the  six-mold  disk. 
First-Elevator-Slide  Besides  the  mold  and  the  matrices,  the 

t  iliing  riece  only  other  parts  necessary  to  equip  an 

outstanding  Linotype  for  duplex-display  matrices  are  a  first- 
elevator-slide  filling  piece  and  a  first-elevator-cam  shoe.  If 
your  machine  is  equipped  to  cast  48-,  54-  and  60-point  faces, 
these  parts  need  not  be  added. 


^!T::yi«^ 


1147 


The  Use  of  Linotype  Duplex-Display 
Matrices  in  Advertising 


ON  THESE  MATRICES  the  bold  face  is  usually  punched  in  the  reg- 
ular position,  so  that  it  may  be  cast  on  a  regular  advertising-figure 
mold,  for  two-line  advertising  composition,  as  suggested  by  the  following  il- 
lustration. This  is  the  same  method  that  has  always  been  used  in  casting 
overhanging  figures.  The  face  of  secondary  importance  for  advertising  work 
is  usually  punched  in  the  auxiliary  position. 


Regular  position  face  cast 
overhanging  for  two-line  work 


The  characters  in  the  regular  (or  normal)  position  of  the  duplex-display 
matrices  are  cast  overhanging  from  the  standard  Advertising  Figure  Mold. 
Either  the  regular  or  auxiliary  position  of  the  body  face  can  be  used  in  the 
same  line.  Here  is  the  result,  with  a  second  slug  for  two-line  work : 


TURKEYS 


From  the  best  of  Maryland        O  O  ^» 
Fancy  Grade — Special  lb.        wWC 


1148 


Note  that  the  display  face  in  the  auxiliary  position  can  also  be  used  for 
advertising  work.  This  is  made  possible  by  the  aligning  position  of  the  auxil- 
iary character,  which  permits  the  small  face  to  align  accurately  at  the  bottom 
of  the  display  line  and  cast  on  a  solid  slug  without  overhang.  Here's  how  it 
is  done: 


^m 


i  cast  on  ^^^*-'^->*ik*ul  »  I'i)'  '   V  v       / 


Auxiliary  face 

solid  slug  with  smaller  auxiliary  face 


TURKEYS 


Fancy  Grade — Special  lb. 


33c 


In  this  method,  auxiliary  characters  of  both  the  24-point  and  12-point 
faces  are  cast  from  one  line  of  matrices.  The  line  is  cast  in  the  raised  position 
of  a  24-point  two-letter  display  mold.  Thus  it  is  possible  to  use  the  face  in 
the  auxiliary  position  for  advertising  work,  and  without  the  necessity  of 
casting  overhanging  slugs. 

It  is  also  possible,  using  this  method,  to  make  the  body  face  line  up  with 
the  middle  of  the  display  face.  The  smaller  the  body  face,  the  higher  the 
alignment.  Here's  the  way  it  looks  when  an  8-point  body  face  is  used: 


TURKEYS 


Fancy  Grade  —  Special  lb. 


33c 


Linotype  duplex-display  faces  can  be  used  another  way  for  advertising- 
figure  and  food-store  work.  Logotypes  in  1 8-point  Bold  Face  No.  2  are  now 
made  two-letter,  for  use  with  duplex-display  faces  in  either  or  both  positions. 


DUNKER'S  WAX  BEANS  S'  2  -  13c 

DUNKER'S  WAX  BEANS  S"  2  .-  13c 


1149 


Linotype  Duplex-Display  Faces 


18  Point  Benedictine  with  Italic  (18A18) 


DUPLEX  Display  matrices  double  Linotype  m  12 
DUPLEX  Display  matrices  double  Linotype  m  12 

Matii.r  Inforniatioii :  Lower  case  alphabet,  223  points.  Figures.  .1107.  Runs  in  90  cliannel  magazine.  Tnde  weird.  ZEZHU. 

18  Point  Bodoni  with  Italic  (18A38) 

DUPLEX  Display  matrices  double  Linotype  mag  12 
DUPLEX  Display  matrices  double  Linotype  mag  12 

Matrix  Iniormation :  Lower  case  alpliabet,  20S  points.  Figures.  .1107,  Runs  in  90  channel  magazine.  16  point  alignment.  Code 
word.  ZETNU. 

24  Point  Bodoni  with  Italic  (24A38) 

DUPLEX  Display  matrices  double  Li  12 
DUPLEX  Display  matrices  double  Li  12 

Matrix  Information :  Lower  case  alphabet.  272  points.  Figures,  .1.S22.  Rinis  in  72  channel  magazine:  also  lower  case,  except 
ni.  in  cap  channels  of  90  channel  magazine  with  caps  and  figures  in  34  channel  auxiliary  magazine.  22  point  alignment.  Code 
word.  ZILLU. 

18  Point  Bodoni  Book  with  Italic  (18A80) 

DUPLEX  Display  matrices  double  Linotype  magazin  12 
DUPLEX  Display  matrices  double  Linotype  magazin  12 

Matrix  Inforniatioii :  Lower  case  alphabet.  191  points.  Figures.  .1107.  Runs  in  90  channel  magazine.  16  point  alignment. 
Code  word,  ZILNE. 

18  Point  Bodoni  Bold  with  Italic  (18A10) 

DUPLEX  Display  matrices  double  Linotype  12 
DUPLEX  Display  matrices  double  Linotype  12 

Matiix  Information :  Lower  case  alphaljet,  227  points.  Fi'ures,  .1107.  Runs  in  90  channel  magazine.  16  point  alignment. 
Code  word.  ZEZDU. 

24  Point  Bodoni  Bold  with  Italic  (24A10) 

DUPLEX  Display  matrices  double  L 12 
DUPLEX  Display  matrices  double  L 12 

Matrix  Information :  Lower  case  alphabet,  278  points.  Figure  1,  .1383;  2  to  0,  .166.  Runs  in  72  channel  magazine;  also  lower 
case  in  cap  channels  of  90  channel  magazine  with  caps  and  figures  in  34  channel  auxiliary  magazine.  22  point  alignment. 
Code  word.  ZIFNE. 

24  Point  Bodoni  Bold  Condensed  with  18  Point  Bodoni  Bold  Italic  (24A84) 

DUPLEX  Display  matrices  double  Linotype  m  12 

DUPLEX  Display  matrices  double  Linotype  ml2 

Matii.v  I  \ij  or  motion  Low  er  case  alphabet,  229  points.  Figures,  .1107.  Runs  in  90  chatniel  magazine.  21  and  16  point 
alignments.  Code  wi.ird.  ZILOC. 


1150 


18  Point  Poster  Bodoni  with  Italic  (18A26) 


DUPLEX  Display  matrices  double  13 
DUPLEK  Display  matrices  double  12 

Malii.v  InUnmalu.,,:  I..nii-r  t:.se  ;ili.lial,c(,  ."H  r>""il^  limiM-  1.  .ISJJ;  J  1,,  ii.  .17''.v.  Huns  ni  :j  .li.,in„-l  in.iK.i/iii.- ;  .ils., 
lower  L;isf.  except  in  ami  \v.  in  cap  thannels  of  90  illaimel  inaKa/iiie  with  caps  and  tigures  in  .M  channel  auxiliary  ina^a/ine. 
Code  word.  ZEZKE. 

24  Point  Poster  Bodoni  with  Italic  (24A26) 

DUPLEX  Display  matric  13 
DUPLEX.  Display  matric  12 

Mutii.y  Itilurmation  :  Lower  case  alplialiet.  411  pninl-.,  Ii^ure  I.  .I'li;;  _■  t(,  (i.  .2A\I.  Runs  in  Wide  7J  i  liannel  niatja/iTie;  also 
lower  case  in  cap  channels  (if  7J  chaTinel  niaga/me  with  caps  and  ti^;uies  in  Wide  34  channel  auxiliary  inaKa/ine.  ("ode  word. 
ZIDTE. 

18  Point  Caslon  with  Italic  {18A86) 

DL'  PLEX  Display  matrices  double  Linotype  12 
DUPLEX  Display  matrices  double  Linotype  12 

Matrix  Ininrtuatii'n  Lower  case  alplialiet,  JJs  p.,inrs,  Imkimcs.  ,1_'4s  kims  in  7J  channel  inaKa/ine;  also  lowei  lase  in  cap 
channels  nf  9(1  channel    inaKa/ine   with   caps   and   tiKines   in    i4   channel   auxiliary    inaKazine.    lode   word.    ZLMAZ. 

18  Point  Caslon  No.  3  with  Italic  (18A66) 

DUPLEX  Display  matrices  double  Li  12 
DUPLEX  Display  matrices  double  Li  12 

\hltiix  hijormaliin,  Lower  case  alplialiet.  J7I1  p., mis.  Imkuvc  1.  .  HXi ;  J  to  II.  lo(..  Runs  in  72  tli.iiiiicl  iiiaKa/ine:  also  louer 
case  in  cap  ch.inncls  of  'Xl  channel  inaK.t/iiie  with  caps  and  Imures  m  ^A  channel  auxiliary  niaKa/ine.  19  puiiil  alignment. 
Code  uiird.  ZIKOV. 

24  Point  Caslon  No.  3  with  Italic  {24A66) 

DUPLEX  Display  matrices  d  12 
DUPLEX  Display  matrices  dl2 

Motri.v  Infornuit ion  :  Lower  lastf  ;ilplial)et.  iA'J  puiiits;.  l-JKiire  1.  .17'JS;  2  u<  (i.  .J(l73.  l^uiis  in  72  channel  niaga/ine;  also  in 
Wide  .^4  clianiiel   anxiliary  inaj^a/ine.    C>n\e  wnrd.   ZIKI'O. 

24  Point  Century  Bold  with  Italic  (24A76) 

DUPLEX  Display  matrices  doubl  12 
DUPLEX  Display  matrices  doubl  12 

Mtilii.v  Inlvi  mcili.m  :  Lnuer  case  alrili.il.et.  .«ls  points.  I'lKiires,  .loo.  Kiiiis  iii  7J  ch.aiiuel  inaKa/ine;  also  in  J4  channel 
.uixili.iry   inan:i/iiic.   2^  point   aliiiinnent.    Code   word.    ZILIIK. 

18  Point  Century  Bold  with  Century  Expanded  (18A60) 

DUPLEX  Display  matrices  double  Linotype  m  12 

DUPLEX  Display  matrices  double  Linotype  m  12 

Matrix  hlli'rniiiti.'ti  I  ou.-r  .  ;ise  alplialiet.  _'J7  p.iints,  l-inures.  .1107.  Runs  in  00  ,li.-iiiiiel  numa/iiie.  |o  point  aliKiiiuent.  Code 
word.  y.\y\'V    18  point  Century  Bolci  with  Italic  (18. ...76)  also  available.  Runs  in  90  channel  magazine. 

18  Point  Century  Expanded  with  Italic  (18A44) 

DUPLEX  Display  matrices  double  Linotype  12 
DUPLEX  Display  matrices  double  Linotype  12 

Mat,  IX    Inl.n  nnitUJi}-   Lower  case  alplialiet.   .'JX   points.    Figures.    .11117.    Uiiiis   in   Oii  channel   ni.iga/ine.    I  ode    uoid.    ZICZI. 


1151 


18  Point  Cheltenham  with  Italic  (18A92) 


DUPLEX  Display  matrices  double  Linotype  maga  1 2 
DUPLEX  Display  matrices  double  Linotype  maga  12 

Matrix  Injormation:  Lower  case  alpliahet.  197  points.  Figures.  .1107.  Runs  iu  90  channel  magazine.  19  point  alignment.  Code 
word,  ZINDE. 

24  Point  Cheltenham  with  Italic  (24A92) 

DUPLEX  Display  matrices  double  Lin  1 2 
DUPLEX  Display  matrices  double  Lin  12 

Matrix  Information:  Lower  case  alphabet.  246  points.  Figures.  .166.  Runs  in  72  channel  magazine:  also  lower  case  in  cap  chan- 
nels of  90  channel  magazine  with  caps  and  figures  in  34  channel  auxiliary  magazine.  Code  word.  ZINEC. 

18  Point  Cheltenham  Bold  with  Italic  (18A90) 

DUPLEX  Display  matrices  double  Linotype  12 
DUPLEX  Display  matrices  double  Linotype  12 

Matrix  Injormation :  Lower  case  alphabet,  231  points.  Figures.  .1107.  Runs  in  90  channel  magazine.  Code  word,  ZINCA. 

24  Point  Cheltenham  Bold  with  Italic  (24A90) 

DUPLEX  Display  matrices  doubl  12 
DUPLEX  Display  matrices  douhl  12 

Matrix  Information :  Lower  case  alphabet.  299  points.  Figures,  .1937.  Runs  in  73  chaiuiel  magazine:  also  lower  case,  except  ni 
and  w,  in  cap  channels  of  90  channel  magazine  with  caps  and  figures  in  34  channel  auxiliary  magazine.  Code  word,  ZINIR. 


18  Point  Cheltenham  Bold  Condensed  with  Italic  (18A24) 


DUPLEX  Display  matrices  double  Linotype  magazin  12 
DUPLEX  Display  matrices  double  Linotype  magazin  12 

Matrix  Injorvnition  :  Lower  case  alphabet.  195  points.   Figures.  .1107.  Runs  in  90  chainiel  magazine.  Code  word.  ZEZPA. 

24  Point  Cheltenham  Bold  Condensed  with  Italic  (24A24) 

DUPLEX  Display  matrices  double  Linotype  12 
DUPLEX  Display  matrices  double  Linotype  12 

Matrix  hijormation :  Lower  case  alphabet,  236  points.  Figures,  .1107.  Runs  in  90  channel  magazine.  Code  word.  ZINJA. 

18  Point  Cloister  with  Italic  (18A14)  ' 

DUPLEX  Display  matrices  double  Linotype  magazine  ca  12 
DUPLEX  Display  matrices  double  Linotype  magazine  cal2 

Matrix  Information :  Lower  case  ali>habet.  178  points.   Figure  1,  .0968;  2  to  0.  .1107,  Runs  in  90  channel  magazine.   16  point 
alignment.  Code  word,  ZEZDE. 

18  Point  Cloister  Bold  with  Italic  (18A12) 

DUPLEX  Display  matrices  double  Linotype  magaz  12 
DUPLEX  Display  matrices  double  Linotype  magaz  12 

Matrix  Iniormation  :  Lower  case  alphal)et.  201  points.   Figure  1,  .0968;  2  to  0,  .1107.   Runs  in  '^n  channel  magazine.   16  point 
alignment.  Code  word,  ZEZCA. 


1152 


24  Point  Cloister  Bold  with  Italic  (24A12) 


DUPLEX  Display  matrices  double  Lino  12 
DUPLEX  Display  matrices  double  Lino  12 

Matrix  Information  :  Lower  case  alphabet,  2^6  points.  FiKnrc  1.  .124S:  J  to  n.  .ISJJ.  Runs  in  72  channel  inaKa/ine;  also  lower 
case  in  cap  channels  nf  'JO  channel  niak'a/ine  with  caps  and  ttKurcs  in  3A  clianncl  auxiliary  magazine.  22  i)nint  aliKinnent. 
Code  wuril.  /IKVI. 

18  Point  Erbar  Bold  Condensed  with  Erbar  Light  Condensed  (18A56) 

DUPLEX  Display  matrices  double  Linotype  magazine  capacity  12 

DUPLEX  Display  matrices  double  Linotype  magazine  capacity  12 

Maliix  Injniiiialun,     I..,«lt  ca-r  alpliahct.    I', J  i.winu.    I'iKUrcs.    .DvCS,    Uiuis   ni  ■)()  .h.uiiicl   niag.(/UK-.    I  o,k-   u.,rd.   ZlKL'l'. 

24  Point  Erbar  Bold  Condensed  with  Erbar  Light  Condensed  (24A56) 

DUPLEX  Display  matrices  double  Linotype  magazin  12 

DUPLEX  Display  matrices  double  Linotype  magazin  12 

Matrix  liijovmation :  L<>\ser  case  alplialict.  JO!)  puiiits.  l-iKures.  .Iln7.  Umis  in  vo  cliaiinel  niaKa/ine.  Cude  word,  ZIFEM. 
24  point  Erbar  Light  Condensed  with  Erbar  Bold  Condensed  (24ij.4)  also  available. 

18  Point  Erbar  Light  Condensed  with  Erbar  Bold  Condensed  (18A4) 

DUPLEX  Display  matrices  double  Linotype  magazine  capacity  12 
DUPLEX  Display  matrices  double  Linotype  magazine  capacity  12 

Matrix  Infonjiatiou :  Lower  case  alphal)et,  162  points.   I'^igures.  .O'JdS.  Runs  in  0()  cliannel  magazine.  Code  word.  ZEI'SA. 

18  Point  Erbar  Medium  Condensed  with  Erbar  Light  Condensed  (18A88) 

DUPLEX  Display  matrices  double  Linotype  magazine  capacity  with  12 
DUPLEX  Display  matrices  double  Linotype  magazine  capacity  witti  12 

Matrix  Injortnaiion  :  I,ower  case  alphal)et.   \SA  pi'ints.    I-'imires.   Avj(\'^.   Runs  in  90  channel  may<izine.  Code  wi>rd.   ZI.MIiA. 

24  Point  Erbar  Medium  Condensed  with  Erbar  Light  Condensed  (24A88) 

DUPLEX  Display  matrices  double  Linotype  magazine  12 

DUPLEX  Display  matrices  double  Linotype  magazine  12 

,i;,i/Mi-  lni„i„„ili.n,     l,,.wfr  ca-c  alpliali,.-! .    I'M    points     limllL-s.   .11117.   Runs  m  '.)(!  Lli.uuifl  niaga/inc.   (  ..de   uoid.  ZI-MCE. 

18  Point  Garamond  Bold  with  Italic  (18A22) 

DUPLEX  Display  matrices  double  Linotype  ma  12 
DUPLEX  Display  ftiatrices  double  Linotype  fna  12 

Matrix-  Inf urination :  Lower  case  alphabet.  220  points.  Figure  1.  .(WiiH:  1  to  II.  .11117.  Kiins  in  90  channel  magazine.  Id  point 
alignment.  Code  word.  ZEZNU. 

24  Point  Garamond  Bold  with  Italic  (24A22) 

DUPLEX  Display  matrices  doubl  12 
DUPLEX  Display  matrices  doubl  12 

Mutux  Injormation  .  Lower  case  alphabet,  311  points.  Figure  1.  .1383;  2  to  0.  .\'',h.  Knns  in  ~2  cliann.-I  niaya/nie;  al>o  in 
34  channel  anxiliary  niaKa/ine.  22  poiiit  alignment.  Code  word.  ZlKDl'. 


1153 


18  Point  Garamond  No.  3  with  Italic  (18A62) 


DUPLEX  Display  matrices  double  Linotype  magazi  12 
DUPLEX  Display  matrices  double  Linotype  magazi  12 

Matrix  Information:  Lower  case  alphabet,  198  points.  Figure  1,  .0968;  2  to  0,  .1107.  Runs  in  90  channel  magazine.   16  point 
alignment.  Code  word.  ZIKNI. 


18  Point  Garamond  Bold  No.  3  with  Italic  (18A58) 


DUPLEX  Display  matrices  double  Linotype  ma  12 
DUPLEX.  Display  matrices  double  Linotype  ma  12 

matrix  Information  :  Lower  case  alphabet.  216  points.  Figure  1.  .0968;  2  to  0.  .1107.  Runs  in  90  channel  magazine.  16  point 
alignment.  Code  word.  ZIFLTD. 

24  Point  Garamond  Bold  No.  3  with  Italic  (24A58) 

DUPLEX  Display  matrices  double  L  12 
DUPLEX  Display  matrices  double  L 12 

Matrix  Information :  Lower  case  alphabet.  279  points.  Figure  1.  .1245;  2  to  0.  .1522.  Runs  in  72  channel  magazine;  also 
lower  case  in  cap  chaiuiels  of  90  channel  magazine  with  caps  and  figures  in  34  channel  auxiliary  magazine.  22  point  align- 
ment. Code  word.  ZIFUK. 

18  Point  Gothic  No.  13  with  Cheltenham  Bold  Condensed  (18A36) 

DUPLEX  Display  matrices  double  Linotype  magazine  cl2 
DUPLEX  Display  matrices  double  Linotype  magazine  cl2 

Matrix  Information :  Lower  case  alphabet,  189  points.  Figures,  .1107.  Runs  in  90  channel  magazine.  Code  word.  ZICED. 

24  Point  Gothic  No.  13  with  Cheltenham  Bold  Condensed  (24A36) 

DUPLEX  Display  matrices  double  magazine  12 
DUPLEX  Display  matrices  double  magazine  12 

,"l/(i/n'.r  Information :  Lower  case  alphabet,  233  points.  Figure  1.  .1107;  2  to  0,  .1383.  Runs  in  9U  channel  magazine,  with 
figures  in  advertising  figure  channels  or  in  auxiliary  magazine.  Code  word,  ZIFDO. 

18  Point  Gothic  No.  16  with  Cheltenham  Bold  (18A34) 

DUPLEX  Display  matrices  double  Linotype  12 

DUPLEX  Display  matrices  double  Linotype  12 

Matrix  Iniorntaticn .  Lower  case  alplialiet.  2M  points.  Figures.  .1107.  Runs  in  90  channel  magazine.  19  point  alignment. 
Code  word.  ZICDA. 

24  Point  Gothic  No.  16  with  Cheltenham  Bold  (24A34) 

DUPLEX  Display  matrices  doubi  12 

DUPLEX  Display  matrices  doubl  1 2 

Matrix  Information:  Lower  case  alphabet,  300  points.  Figure  1.  .1798;  2  to  0.  .2075.  Runs  in  72  channel  magazine:  also  lower 
case,  except  m  and  w.  in  cap  channels  of  90  channel  magazine  with  caps  and  figures  in  34  channel  auxiliary  magazine.  25  point 
aliviniiieTit.  Code  word.  ZIIIOL. 

18  Point  IVlemphis  Light  with  Bold  (18A16) 

DUPLEX  Display  matrices  double  Linotype  12 
DUPLEX  Display  matrices  double  Linotype  12 

Matrix  Information  :  Lower  case  alphabet.  232  points.  Figures.  .1107.  Runs  in  "I'O  channel  magazine.  Code  word.  ZEZEP. 


1154 


18  Point  Memphis  Bold  with  Light  (18A48) 

DUPLEX  Display  matrices  double  Linotype  12 

DUPLEX  Display  matrices  double  Linotype  12 

Matrix  liiliniiialu^n     l.invcr  i.isc  .il|)li:il>el.  J.i-'  points.    FiKures.   .11(17.    KuTis  in  Wi  ili.nint-l   ni.ii;../inc.   I  .«!.■   vv.,r.l.   ZIDl'd. 

24  Point  IVlemphis  Bold  with  Light  (24A48) 

DUPLEX  Display  matrices  doubl  12 

DUPLEX  Display  matrices  doubl  12 

Afattix  Inloiiniitii'ii  Lower  tase  alphabet,  316  points.  Figure  1.  1107;  2  to  0,  .166.  Uuns  m  7J  clianncl  niaKazine;  also  in 
Wide  ,14  channel  auxiliary  niaKazine.  Code  word,  ZIDSA. 

18  Point  Memphis  Bold  with  Italic  (18A20) 

DUPLEX  Display  matrices  double  Linotype  12 
DUPLEX  Display  matrices  double  Linotype  12 

Matrix  hiionuatian :  Lower  case  alphabet,  2^1  points.  Figures,  .1107.  Uuns  in  'X)  channel  magazine,  ('.j.le  WMid,  ZF.ZII), 
24  point  Memphis  Bold  with  Italic  (24A20)  also  available.  Runs  in  72  channel  magazine;  also  in  Wide  34  channel 
auxiliary  magazine, 

18  Point  Memphis  Bold  with  Medium  (18A64) 

DUPLEX  Display  matrices  double  Linotype  12 

DUPLEX  Display  matrices  double  Linotype  12 

Muliix  Inlonualti'ii .  Lower  case  aliihabet,  IM  points.  Figures.  .1107.  Runs  in  90  channel  niaga,<ine.  Code  word,  ZIKOD. 

24  Point  Memphis  Bold  with  Medium  (24A64) 

DUPLEX  Display  matrices  doubl  12 

DUPLEX  Display  matrices  doubl  12 

Mtitiix  Infuniialion :  Lower  case  alphabet.  31X  points.  Figure  1,  ,1107;  J  to  0.  ,160,  Runs  in  7^  channel  maga/ine:  also  in 
Wide  ,14  cliainiel  anxiliary  niaga/iiie.   Code  word.  ZILIB. 

18  Point  Memphis  Medium  with  Italic  {18A28) 

DUPLEX  Display  matrices  double  Linotype  12 
DUPLEX  Display  matrices  double  Linotype  12 

Mutiix  liu.nimition  :  Lower  case  alphabet.  ,?31  points.  Figures.  ,1107,  Runs  in  90  channel  maga/ine.  Code  word.  ZEZCM, 

18  Point  Memphis  Bold  Condensed  with  Medium  Condensed  (18A68) 

DUPLEX  Display  matrices  double  Linotype  magazine  cap  12 

DUPLEX  Display  matrices  double  Linotype  magazine  cap  12 

Miitiix  liiU'i-iiiatuin:  Lower  case  alph,ihef,    l.xil  points,    F'igures,   .o'K.S     Runs   in  '«)  ch.iniicl   niaga/iiie,   I  o,ie  word.   ZIKS.X 

24  Point  Memphis  Bold  Condensed  with  Medium  Condensed  {24A68) 

DUPLEX  Display  matrices  double  Linotype  12 

DUPLEX  Display  matrices  double  Linotype  12 

Matiix  InU'inuilum     Lower  c.ise  alphabet,  2,16  puinls.  Figures.  ,1107,   Knns  iii  'ill  ch.iniu-l  in.ig.i/iiie,  lode  woid.  /IKTK. 


1 

1155 


p 


I 


18  Point  Memphis  Extra  Bold  with  Italic  (18A52) 

DUPLEX  Display  matrices  double  Lino  21 
DUPLEX  Display  matrices  double  Lino  21 

Matrix  Injormatinn  :  Lnwer  case  alphabet.  2f*9  points.    Figure  1,  .1107;  2  t^  0,   .13^3.  Runs  in  71  channel  mai,'azine;  also  lower 
case  in  cap  channels  of  90  channel  magazine  with  caps  and  figures  in  34  channel  auxiliary  magazine.  Code  word,  ZIFAY. 

18  Point  Memphis  Extra  Bold  Condensed  with  Medium  Condensed  (18A70) 

DUPLEX  Display  matrices  double  Linotype  magazine  cap  12 

DUPLEX  Display  matrices  double  Linotype  magazine  cap  12 

Matrix  Ivjommtwn  :  Lower  case  aiphatiet.  180  points.   Figures.  .0968.  Runs  in  90  channel  magazine.  Code  word.  ZIKUC. 

24  Point  Memphis  Extra  Bold  Condensed  with  Medium  Condensed  (24A70) 

DUPLEX  Display  matrices  double  Linotype  12 

DUPLEX  Display  matrices  double  Linotype  12 

Matrix  Injormation :  Lower  case  alphabet,  2Z6  points.  Figures.  .1107.  Runs  in  90  channel  magazine.  Code  word,  ZIKUJ. 

18  Point  Metrolite  No.  2  with  Italic  (18A50) 

DUPLEX  Display  matrices  double  Linotype  12 
DUPLEX  Display  matrices  double  Linotype  12 

Matrix  Information :  Lower  case  alphabet,  232  points.  Figures,  .1107.  Runs  in  90  channel  magazine.  Code  word,  ZIDUC. 

24  Point  Metrolite  No.  2  with  Italic  (24A50) 

DUPLEX  Display  matrices  double  1 2 
DUPLEX  Display  matrices  double  12 

Matrix  Injorniatiun  :  Lower  case  alphabet.  303  points.    Figure  1,  .1383;  2  to  0,   .1937.  Runs  in  73  chainiel  magazine:  also  in 
34  channel  auxiliary  magazine.  Code  word.  ZIKOH. 

18  Point  Metrolite  No.  2  with  IVletroblacl<  No.  2  (18A74) 

DUPLEX  Display  matrices  double  Linotype  12 
DUPLEX  Display  matrices  double  Linotype  12 

Matrix  Information  :  Lower  case  alphatiet.  J36  points.   Figures.  .1107.  Runs  in  90  channel  magazine.  Code  word.  ZILFU. 

18  Point  Metroblack  No.  2  with  Metrolite  No.  2  (18A8) 

DUPLEX  Display  matrices  double  Linotype  12 

DUPLEX  Display  matrices  double  Linotype  12 

Matrix  Information  :  Lower  case  alphabet.  236  points.  Figures,  .1107.  Runs  in  90  channel  magazine.  Code  word.  ZEZEJ. 

24  Point  Metroblack  No.  2  with  Metrolite  No.  2  (24A8) 

DUPLEX  Display  matrices  doubl  12 

DUPLEX  Display  matrices  doubl  12 

Matrix  Information:  Lower  case  alphabet,  302  points.  Figure  1,  .1383;  2  to  0,  .1937.  Runs  in  72  channel  magazine;  also  in 
34  channel  auxiliary  magazine.  Code  word.  ZIFMA. 


1156 


18  Point  Wletroblack  No.  2  with  Italic  (18A46) 


DUPLEX  Display  matrices  double  Linotype  12 
DUPLEX  Display  mattices  double  Linotype  72 

ihilnr   Inl.n  :nulhni      l..,«i-r   case  aliihabet.   J,ii.   iJni.ils,    l-Tgurfs,    .1111/,    i<ui<~.   in   '«i   ,li.,inii-l    ni,iKa/ni(.-.    (  .i.ic    uunl.   /IDll.S. 

24  Point  Metroblack  No.  2  with  Italic  (24A46) 

DUPLEX  Display  matrices  doubl  12 
DUPLEX  Display  matrices  doubl  12 

Miitiis  [  nh'tiuation  :  Lower  case  alphabet.  311  poitils.  I'iKiire  1,  .1J.S3;  J  tu  U.  .VJS7.  Runs  in  7J  channel  magazine;  also  in 
34  channel  au.Kiliary  niaKa/ine.  (_i.de  word.  ZIDOV. 

18  Point  Wletromedium  No.  2  with  Metrothin  No.  2  (18A6) 

DUPLEX  Display  matrices  double  Linotype  mog  12 

DUPLEX  Display  matrices  double  Linotype  mag  12 

Matrix  hifonuatinn  -  Lower  case  alphabet.  31.^  points.  FiKure  1.  .()'J(.H;  2  to  0.  .1107.  Knns  in  'JO  channel  niaKa/-ine.  I  ode 
word.  ZETUZ. 

24  Point  Wletromedium  No.  2  with  Metrothin  No.  2  (24A6) 

DUPLEX  Display  matrices  double  Lin  12 

DUPLEX  Display  matrices  double  Lin  1 2 

Matrix  I)iti'n)tatii>n  :  l.mver  case  alphatiet.  272  points.  Figure  1,  ,lJ-45;  2  To  0.  J7'JS.  Runs  in  72  channel  magazine;  also 
lower  case,  except  in,  in  cap  cliaiinels  of  90  channel  magazine  with  caps  and  tiKures  in  34  channel  auxiliary  magazine.  Code 
word.  ZIKME. 

18  Point  Metromedium  No.  2  with  Italic  (18A54) 

DUPLEX  Display  matrices  double  Linotype  maga  12 
DUPLEX  Display  matrices  double  Linotype  maga  72 

Matrix  Injoi  ination  :  Lower  case  alphabet,  JOV  points.    Figures.   .1107.   Runs  m  '.'i.'  channel  niaga/me.   (  ■■de  wiTd.   /IhliK. 

24  Point  Metromedium  No.  2  with  Italic  (24A54) 

DUPLEX  Display  matrices  double  Li  12 
DUPLEX  Display  matrices  double  Li  12 

Matrix  htfonuation :  Lower  case  alphabet.  37S  points.  Figure  1.  .13S3:  2  to  0.  .1937.  Runs  in  72  channel  magazine;  also 
lower  case,  except  ni.  in  cap  channels  of  90  channel  magazine  w  ith  caps  and  figures  in  34  cliannel  auxiliary  magazine. 
Code  word.  ZIFCL 


18  Point  Pabst  Extra  Bold  with  Italic  (18A42) 


DUPLEX  Display  matrices  double  12 
DUPLEX  Display  matrices  double  12 

Matrix  Injormatidn  :  Lower  case  alphabet.  ,^01   points.    Fiunres.   .166.  Rnns  in  7i  i.hannel   magazine:  also  li>wcr  case,  except 
m  and  vv.  in  cap  channels  of  '«)  channel  niaKa/ine  with  caps  and  fignres  in  34  charniel  auxiliary  magazine.  Code  w.ird.  ZICUN. 

18  Point  Pabst  Extra  Bold  Condensed  with  Italic  (18A72) 

DUPLEX  Display  matrices  double  Linotype  m  12 
DUPLEX  Display  matrices  double  Linotype  m  12 

Matrix  Injormation  :  Lower  case  alphabet.  ^^A  points.  Figures.  .1107.  Runs  in  'Jll  cliaiuiel  m.iKa/iue.  Code  word.  ZIKYA. 


1157 


24  Point  Pabst  Extra  Bold  Condensed  with  Italic  (24A72) 


DUPLEX  Display  matrices  double  12 
DUPLEX  Display  matrices  double  12 

Matrix  Information :  Lower  case  alphabet,  293  points.  Fit^iires.  At>22.  Runs  in  72  channel  magazine;  also  lower  case  in  cap 
channels  of  90  channel  magazine  with  caps  and  figures  in  34  channel  auxiliary  magazine.  Code  word,  ZIKZE. 

18  Point  Pabst  Extra  Bold  Condensed  with  14  Point  Gothic  No.  16  (18A78) 

DUPLEX  Display  matrices  double  Linotype  m  12 

DUPLEX  Display  matrices  double  Linotype  m  12 

Matrix  Information:  Lower  case  alphabet,  224  points.  Figures,  .1107.  Runs  in  90  channel  magazine.  Alignment  is  18  point 
in  normal  position  and  14  point  in  auxiliary  position  of  regular  5  to  14  point  two-letter  standard.  Both  faces  will  cast  from 
regular  U.A.  mold  (F-1407)  and  regular  Advertising  Figure  mold  (F-1904)  ;  18  point  will  cast  in  normal  position  of  two- 
letter  18  point  mold  {F-6338)  and  two-letter  18-24  point  mold  (F-6581).  Smallest  slug  on  which  these  faces  will  cast, 
without  overhang,  are  18  and  14  point  respectively.  Code  word,  ZILMA. 

18  Point  Textype  with  Italic  (18A30) 

DUPLEX  Display  matrices  double  Linotype  ma  12 
DUPLEX  Display  Tnatrices  double  Linotype  ma  12 

Matrix  Information:  Lower  case  alphabet,  216  points.  Figures.  .1107.  Runs  in  90  channel  magazine.  Code  word.  ZIBZO. 


II 


Double-Duty  Duplex  Display  For  Food  Store  Ads 
Regular  Position  in  Two-Line  Work 

I      AkiD    ^LJ^DC        CutfromLoin    ^  PC 
L/\fVlD    ^nV/rd       Special, pound  ^^ 


SLICED  BACON5;pX19' 

SMOKED    HAM  special, pounce  25 

SALMON  STEAK  °7o„':n3' 


24  Point  Metroblack  No.  2, 
in  a  line  with  10  Point  Met- 
Tomedium  No.  2,  is  cast 
overhanging  on  a  10  point 
slug  from  the  Regular  Ad- 
vertising Figure  Mold.  The 
second  10  point  line  is  cast 
on  a  separate  slug. 


24  Point  Metroblack  No.  2 
Italic,  in  a  line  with  1 2  Point 
Metromedium  No.  2  Italic, 
is  cast  on  a  24  point  slug 
from  the  24  point  Two-Let- 
ter Display  Mold. 


Auxiliary  Position  in  One-Line  Work 

PRESERVES     2  pouno  ,v  27c 
PAPERTOWELS  3ro,is2Sc 

DOG  FOOD  Canine  Brand  3  cansll  C 

SWISS  CHEESE  pe.pound  39c 


1158 


Linotype  Standard  Alignments 


THERE  are  three  standard  Linotype  alignments  of  characters  on  the 
matrix.  These  are  regular  position,  auxiliary  position,  and  45-point 
alignment  position  for  48-,  54-  and  60-point  faces.  In  the  development 
of  the  duplex-display  matrix,  the  standard  45-point  alignment,  estab- 
lished in  1913,  was  used  for  the  auxiliary  position  character. 

The  following  comparison  of  Linotype  alignments  will  clearly  illus- 
trate the  relative  position  of  each : 


18-Point 
Two-Letter 


60-Point 
Headletter 


The  illustration  shows  the  different  positions  of  the  characters  on 
the  matrices.  Notice  particularly  that  the  top  of  the  regular  headletter 
character  aligns  with  the  auxiliary  character  of  the  regular  two-letter 
matrix,  4  to  14  point,  and  that  the  top  of  the  auxiliary  character  of  the 
18-  and  24-point  duplex-display  matrix  aligns  with  the  top  of  the  60- 
point  headletter  character. 

Since  duplex-display  matrices  are  a  comparatively  recent  devel- 
opment, it  follows  that  technical  information  concerning  the  matrices 
and  their  use  should  be  of  interest  to  operators,  machinists  and  Lino- 
type users  generally. 

Linotype  duplex-display  faces  are  the  same  size  as  corresponding 
foundry  faces  and  Linotype  one-letter  faces.  In  fact,  the  same  punches 
are  used  in  the  manufacture  of  both  duplex-display  and  the  corre- 
sponding one-letter  display  matrices. 

The  bridge  between  the  two  characters  is  more  than  ample  to  pre- 
vent any  possibility  of  metal  leakage.  To  illustrate  the  size  of  the  metal 
bridge  on  matrices  with  descending  characters,  a  matrix  of  24-point 


1159 


Bodoni 
largest 


Bold  with  Italic  is  shown  here.  The  lower  case  "j"  represents  the 
character  duplexed  on  the  matrix,  since  it  has  both  ascending 
and  descending  elements.  The  bridge  between  the  characters 
is  therefore  the  minimum  to  be  found  in  24-point  faces. 

Notice  the  width  of  the  bridge  "A!'  By  an  ingenious  method 
of  manufacturing,  the  bridge  is  greatly  increased  in  size  over 
the  corresponding  character  in  14  point.  There  is  no  possibility 
of  metal  leakage  under  any  operating  condition.  An  oversize, 
sturdy  bridge  is  one  of  the  features  of  Linotype  Duplex-Dis- 
play Matrices. 


n 

^ 


Relation  of  Matrices  to  Molds 

The  following  diagrams  will  serve  to  illustrate  the  manner  in  which 
matrices  contact  the  mold  during  the  casting  operation.  The  molds  shown  are 
those  in  general  use,  while  the  matrices  are  standard  two-letter  (4  to  14 
point),  regular  headletter  or  display,  regular  and  special  advertising  figures, 
18-  and  24-point  duplex-display,  and  60-point  display  matrices. 

All  two-letter  molds,  including  duplex-display,  have  the  same  alignment 
in  regular  position.  The  process  of  assembling  and  casting  is  identical  in  each 
case.  See  relation  of  regular  two-letter  and  duplex-display  characters  to  con- 
stant edge  of  molds, "  A;'  Diagram  1 .  The  same  relationship  is  shown  in  3  and  7. 

Since  the  characters  in  the  regular  position  of  duplex-display  matrices  are 
in  the  same  relative  position  on  the  matrix  as  those  in  two-letter  faces  (4  to 
14  point),  and  regular  advertising  figures,  it  can  readily  be  seen  that  such 
faces  can  be  cast  on  the  same  molds.  That  is,  the  character  in  the  regular  posi- 
tion of  a  1 0-point  matrix  can  be  cast  on  the  1 8-24-point  duplex-display  mold 
either  alone  or  in  the  same  line  with  the  1 8-24-point  faces.  (Alignment  will 
be  at  the  top  of  the  characters.)  The  18-  or  24- 
point  regular  position  character  may  also  be  cast 
overhanging  on  a  regular  advertising  figure  mold, 
either  alone  or  in  conjunction  with  two-letter 
faces  (4  to  14  point). 

The  character  shown  in  Diagram  No.  3  may 
be  either  a  regular  advertising  figure  or  a  charac- 
ter from  the  regular  position  of  a  duplex-display 
face. 

Attention  is  called  to  the  fact  that  the  distance 
from  the  lower  lug  of  the  matrix  to  the  constant 
edge  of  mold  ( " A;'  Diagram  1 )  represents  the  reg-         universal  Adjustable  Moid 
ular  alignment  position.  All  characters  line  up  at  (Regular  Position) 


1160 


Universal  Adjustable  Mold 
(Auxiliary  Position) 


Advertising  Figure  Mold 
(Regular  Position) 


Special  Advertising  Figure 
Mold  (Auxiliary  Position) 


the  top  of  the  slug,  which  is  represented  in  the  dia- 
gram by  the  constant  edge  of  the  mold  ("A"). 

Diagrams  2,  4  and  5  show  the  auxiliary  posi- 
tion character  as  it  contacts  the  mold.  These  may 
be  characters  in  the  auxiliary  position  of  4-  to  14- 
point  two-letter  matrices,  one-letter  display  mat- 
rices, or  special  advertising  figures.  The  correct 
molds,  of  course,  must  be  used.  Note  that  the  aux- 
iliary position  character  of  duplex-display  mat- 
rices cannot  be  cast  on  this  type  of  mold. 

The  distance  between  the  regular  aligning  rail 
("D,"  Diagram  1)  and  the  auxiliary  aligning  rail 
("B,"  Diagram  1)  is  .21875,  and  this  is  the  thick- 
ness of  the  regular  first  elevator  slide  filling  piece. 
When  this  filling  piece  is  in  position,  the  lugs  of 
the  matrices  are  pulled  up  against  the  auxiliary 
aligning  rail  "B"  and  the  character  is  correctly  po- 
sitioned on  the  slug. 

Diagrams  6  and  8  show  the  matrix  contacting 
the  mold  in  the  45-point  alignment  position.  The 
term  "45-point  alignment  position"  means  that 
the  top  of  the  character  is  the  same  distance  from 
the  lower  lug  of  the  matrix  in  all  faces,  45  to  60 
point,  and  the  auxiliary  position  of  18-  and  24- 
point  duplex  display. 

Referring  to  Diagram  No.  6,  notice  that  the 
body  section  of  the  mold  marked  "C"  is  not  as 
wide  as  the  same  section  on  all  other  molds  and  is 
the  same  as  the  45-point  mold.  Since  the  auxiliary 
character  is  located  closer  to  the  lug  of  the  matrix 
to  provide  room  for  a  full  size  24-point  character 
without  distortion,  it  will  not  cast  on  any  mold  ex- 
cept the  duplex-display  mold.  Although  the  aux- 
iliary character  of  a  duplex-display  face  is  in  the 
same  relative  position  on  the  matrix  as  a  48-.  54- 
or  60-point  character,  it  cannot  be  cast  on  a  45- 
point  mold,  as  metal  would  flow  into  both  regular 
and  auxiliary  characters. 

As  the  aligning  position  of  the  auxiliary  char- 
acter of  the  duplex-display  matrix  is  the  same  as 
that  of  48-,  54-  and  60  point  faces,  the  same  first 


1161 


elevator  slide  filling  piece  is  used  for  both  condi- 
tions. This  filling  piece  is  supplied  in  the  form  of 
a  combination  attachment  that  will  cover  the  en- 
tire range  of  Linotype  one-  and  two-letter  display 
faces.  It  consists  of  two  separate  filling  pieces 
which  can  be  placed  in  operative  position  by  a 
simple  turn  of  the  control  knob.  When  the  aux- 
iliary position  of  4-14  point  two-letter  and  18-36 
point  one-letter  faces  is  used,  the  regular  .2 1875" 
filling  piece  is  placed  in  position.  When  casting 
from  the  auxiliary  position  of  18-  and  24-point 
two-letter  and  45-point  one-letter  faces,  a  second 
filling  piece  is  simply  added.  Both  filling  pieces 
can  be  placed  in  or  out  of  position  instantly. 

Slugs  cast  from  duplex-display  molds,  18  or  24  point,  are  standard  body 
sizes,  the  same  as  cast  from  corresponding  one-letter  display  molds. 


Display  Mold,  One-Letter 
(Auxiliary  Position) 


Display  Mold,  Two-Letter 
(Auxiliary  Position) 


Display  Mold,  Two-Letter 
(Regular  Position) 


Display  Mold,  45  Point 
(Auxiliary  Position) 


1162 


ADDENDA 

Additional  faces  that  have  been  produced 

since  this  specimen  hook  has  been 

compiled  and  printed 


<opo  LINOTYPE-"  > 


Linotype  Faces 


POINT  SIZH 


POINT  SIZE 


Baskerville  tvith  Italic  and  Small  Caps  .      .      .    7 

Bodoni  Bold 42 

Century  Expanded  with  Italic 4 

Electra  with  Italic  and  Small  Caps  .      .      .      7,9 
Erbar  Light  Condensed  -with  Bold  Condensed    .    8 

Excelsior  with  Bold  Face  No.  2 7  ^ 

Garamond  Bold  No.  3  Italic 18 

Memphis  Bold  with  Italic 24 

Memphis  Bold  Condensed.     .     .     18,24,30,36 


Memphis  Extra  Bold  Condensed .  18,  24,  30,  36 
Memphis  Medium  Condensed  .  .  .  30,  36 
Memphis  Medium  Condensed  with 

Memphis  Bold  Condensed.  .  .  10,12,14 
Memphis  Medium  Condensed  with 

Memphis  Extra  Bold  Condensed  .      10,  12,  14 

Optican  with  Bold  Face  No.  2 11 

Opticon  with  Italic  and  Small  Caps.  .  .7,11 
Pabst  Extra  Bold  Cotidensed 42 


All-Piirpose  Linotype  Faces 


POINT  SIZE 


POINT  SIZE 


Bodoni  Italic 60,72 

Bodoni  Bold  Condensed 24,  30 

Poster  Bodoni  Italic 60 

Caslon  Old  Face  Italic 60 


Cloister  Bold  Italic 60 

Condensed  Title  Gothic  .  .  .  .72,96,120 
Memphis  Extra  Bold  Condensed  .  96,  1 20,  144 
Memphis  Medium  Condensed.     .      96,120,144 


MERGENTHALER  LINOTYPE  COMPANY,  BROOKLYN,  NEW  YORK 


4  POINT  CENTURY  EXPANDED  with  ITALIC 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WHY  DO  THE  PACE-MAKERS   IN 
THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  OF  TYPE?  WHAT  DO  THEY  SEE  IN  IT?  WHY  IS   IT  SO  SUPERLATIVELY 


How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  es- 
thetic design?  Why  do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is 
it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always 
practical  design.  And  what  they  see  in  a  good  type  design  is. 
partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has 
a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made 
nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  lias 
to  do.  neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no 
waste  of  material  and  no  lack  of  strength.  And,  beyond  that,  the 
chair  may  have  been  made  by  a  man  who  worked  out  in  it  his 
sense  of  fine  shapes  and  curves  and  proportions:  it  may  be.  ac- 
tually, a  work  of  art.  The  same  thing  holds  for  shapes  of  letters. 
And  your  chair,  or  your  letter  <if  a  true  artist  made  it)  will  have, 
besides  its  good  looks,  a  suitability  to  the  nth  degree  to  be  sat 
in.  or  stamped  on  paper  and  read.  That  explains,  in  a  way,  why 
the  experts  rave  over  the  fine  shapes  of  letters;  but  it  fails  to 
explain  wherein  the  shapes  are  fine.  If  you  seek  to  go  furtlier 
with  the  inquiry,  theories  will  be  your  only  answer.  Here  is  a 
theory  that  the  proponent  thinks  may  have  sense  in  it:  Fine  type 
letters  were,  in  the  first  place,  copies  of  fine  written  letters.  Fine 
written  letters  were  fine  because  they  were  jiroduced  in  the  most 
direct  and  simple  way  by  a  tool  in  tlie  hands  of  a  person  expert 
in  its  use.  by  a  person,  moreover,  who  was  an  artist,  i.e.,  a 
person  equipped  to  make  sound  judgments  about  lines,  curves, 
proportions,  etc.  The  artist  of  that  moment  when  printing  was 
invented  who  furnished  the  fine  written  patterns  for  type  was 
(luckily  for  printing)  working  at  the  top  notch  of  a  fine  tradition 
of  calligraphy.  He  was  making  sound  judgments  about  lines  and 
curves  and  proportions  of  letters.  He  had  resurrected  an  ancient 
distinguished  style  of  writing  and  had  added  to  it  the  quality  of 
his  own  fine  taste.  His  letters  flowed  from  his  pen  easily  and 
simply,  without  any  tricks  or  affectations  or  extraneous  embel- 
lishments. He  was  simple  enough  and  artist  enough  to  let  the 
implement  itself  land  his  facile  hand)  shape  the  product.  The 
fine  qualities  of  this  artist's  letter-forms  were  carried  over  into 
the  metal  types  and  sealed  up  there,  like  butterflies  in  amber.  It 
is  argued.  Jiowever.  that  the  ascription  of  beauty  to  type  letters 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  es- 
thetic design?  Why  do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is 
( solid) 


How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  es- 
thetic design?  Why  do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  type?  What  do  they  see  in  it?  Why  is 
it  so  superlatively  pleasant  to  their  eyes?  Good  design  is  always 
practical  design.  And  what  they  see  in  a  good  type  design  is. 
partly,  its  excellent  practical  fitness  to  perform  its  work.  It  has 
a  "heft"  and  balance  in  all  of  its  parts  just  right  for  its  size,  as 
any  good  tool  has.  Your  good  chair  has  all  of  its  parts  made 
nicely  to  the  right  size  to  do  exactly  the  work  that  the  chair  has 
to  do,  neither  clumsy  and  thick,  nor  "skinny"  and  weak,  no 
waste  of  material  and  no  lack  of  strength.  And.  beyond  that,  the 
chair  may  have  been  made  by  a  man  who  worked  out  in  it  his 
sense  of  fine  shapes  and  curves  and  proportions:  it  may  be.  ac- 
tually, a  work  of  art.  The  same  thing  holds  for  shapes  of  letters. 
And  your  chair,  or  your  letter  (if  a  true  artist  made  it)  will  have, 
besides  its  good  looks,  a  suitability  to  the  7ith  degree  to  be  sat 
in,  or  stamped  on  i>ai>er  and  read.  That  explains,  in  a  way,  why 
the  experts  rave  over  the  fine  shapes  of  letters;  but  it  fails  to 
explain  wherein  the  shapes  are  fine.  If  you  seek  to  go  further 
with  the  inquiry,  theories  will  be  your  only  answer.  Here  is  a 
theory  that  the  proponent  thinks  may  have  sense  in  it:  Fine  type 
letters  were,  in  the  first  place,  copies  of  fine  written  letters.  Fine 
written  letters  were  fine  because  they  were  produced  in  the  most 
direct  and  simple  way  by  a  tool  in  the  hands  of  a  person  expert 
in  its  use.  by  a  per.son,  moreover,  who  was  an  artist,  i.e.,  a 
person  equipped  to  make  sound  judgments  about  lines,  curves, 
proportions,  etc.  The  artist  of  that  moment  when  printing  was 
invented  who  furnished  the  fine  written  patterns  for  type  \vas 
(luckily  for  printing)  working  at  the  top  notch  of  a  fine  tradition 
of  calligraphy.  He  was  making  sound  judgments  about  lines  and 
curves  and  proportions  of  letters.  He  had  resurrected  an  ancient 
distinguished  style  of  writing  and  had  added  to  it  the  quality  of 
his  own  fine  taste.  His  letters  flowed  from  his  pen  easily  and 
simply,  without  any  tricks  or  affectations  or  extraneous  embel- 
(one  point  leaded) 


ahcdefghijklmnopqrstuvwxyz 
abcdefghijklmnopqrstitvwryz 

1234.5     ($£..::'-•?!*  tt^llfiflff'ffifflt     (17800 
12545    (9£..::'-'?.'*-^t^Mfiflffmffl>    67890 

Matrix  Injormation :  4A4.  Lower  case  alphabet,  78  points.   Figures.  .0484;  comma,  period  and  thin  space.  .0277. 
channel  magazine.  Code  word,  ZINBU.  Made  also  in  combination  with  Gothic  No.  16.  See  pages  193  and  494. 


-(      LINDTVPE"  ■> 


7  POINT  BASKERVILLE  with  ITALIC  and  SMALL  CAPS 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETIC  DESIGN?  WH 
DO  THE  PACE-MAKERS  IN  THE  ART  OF  PRINTING  RAVE  OVER  A  SPECIFIC  FACE  OF  TYPE?  WH 


How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Why  is  it  so  superlatively  pleasant  to 
their  eyes?  Good  design  is  always  practical  design.  And 
wliat  they  see  in  a  good  type  design  is,  partly,  its  ex- 
cellent practical  fitness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good  chair  has  all  of 
its  parts  made  nicely  to  the  right  size  to  do  exactlv 
the  work  that  the  chair  has  to  do,  neither  clumsy  and 
thick,  nor  "skinny"  and  weak,  no  waste  of  mate  ial 
and  no  lack  of  strength.  And,  bevond  that,  the  chair 
mav  have  been  made  by  a  man  who  worked  out  in  ii 
his  sense  of  fine  shapes  and  curves  and  proportions:  it 
mav  be,  actually,  a  work  of  art.  The  same  thing  holds 
for  shapes  of  letters.  .\nd  your  chair,  or  your  letter  (if 
a  true  artist  made  it)  will  have,  besides  its  good  looks, 
a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped 
on  paper  and  read.  That  explains,  in  a  way,  why  the 
experts  rave  over  the  fine  shapes  of  letters  but  it  fails 
to  explain  wherein  the  shapes  arc  fine.  If  you  seek  to 
go  further  with  the  inquiry,  theories  will  be  your  only 


How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  of  type?  What 
do  thev  see  in  it?  Why  is  it  so  superlatively  pleasant  to 
their  eyes?  Good  design  is  always  practical  design.  And 
what  they  see  in  a  good  type  design  is,  partly,  its  ex- 
cellent practical  fitness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Your  good  chair  has  all  of 
its  parts  made  nicely  to  the  right  size  to  do  exactly 
the  work  that  the  chair  has  to  do,  neither  clumsy  and 
thick,  nor  "skinny"  and  weak,  no  waste  of  material 
and  no  lack  of  strength.  And,  beyond  that,  the  chair 
may  have  been  made  by  a  man  who  worked  out  in  it 
his  sense  of  fine  shapes  and  curves  and  proportions:  it 
may  be,  actually,  a  work  of  art.  The  same  thing  holds 
for  shapes  of  letters.  And  your  chair,  or  your  letter  (if 
a  true  artist  made  it)  will  have,  besides  its  good  looks, 
a  suitability  to  the  nth  degree  to  be  sat  in,  or  stamped 
on  paper  and  read.  That  explains,  in  a  way,  why  the 
f  one  pciirt  leaded) 


•jlid) 

ABCDEFGHIJKLMNOPQRSTUVVVXYZ& 
ABCnEFGHIJKLMNOPqRSTUVWXYZir 

ABCDEFGHlJKLMNOPQRSTUVWXyZ& 

abcdef  ghi  j  kl  mnopqrs  tuvwxyz 

abcdelghijklnmopqrstuvwxyz 

1234567890  ($£,.:;•-•?! •ttSSfinffffiffl)  1234567890 
12)4^67890  ($£..:;■■•?!  nW'fllflfifP)  12?'>^67890 

Matrix  Injormation:  7A184.  Lower  case  alphabet,  95  points.  Figures.  .050;  comma,  period  and  thin  space,  .0277.  Runs  in  90 
channel  magazine.  6  point  alignment.  Smallest  slug  on  which  this  face  will  cast  is  7  point.  Will  cast  on  6  point  body  with  short 
descenders.  Code  word.  ZIDUP. 


1164 


7  POINT  ELECTRA  iiith  ITALIC  and  SMALL  CAPS 


HOW  IS  ONF,  'VO  ASSESS  AND  EVALUAIIl  A  lYI 
WHY  IX)  THE  PACE-MAKERS  IN  THE  ARl'  OF 
How  IS  ONI',  to  assess  and  evaluate  a  type  face  in  terms 
of  its  esthetic  design?  Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  of  type?  What 
do  they  see  in  it?  Whv  is  it  so  superlatively  pleasant  to 
their  e\es?  Good  design  is  always  pr.ictica)  design.  And 
what  thev  see  in  a  good  type  design  is,  partly,  its  ex- 
cellent practical  fitness  to  perform  its  work.  It  has  a 
"heft"  and  balance  in  all  of  its  parts  just  right  for  its 
size,  as  anv  good  tool  has.  Your  good  chair  has  all  of  its 
parts  made  nicelv  to  the  right  size  to  do  exactly  the 
work  that  the  chair  has  to  do,  neither  clumsy  and 
thick,  nor  "skinny"  and  weak,  no  waste  of  material  and 
no  lack  of  strength.  And,  bevond  that,  the  chair  may 
have  been  made  b\  a  man  who  worked  out  in  it  his 
sense  of  fine  shapes  and  curves  and  proportions:  it  may 


1',  FACE  IN  ri:RMS  OF  ITS  ES  THE  TIC  DESIGN 
'RINTING  RAVE  OVI'lR  A  SPECIFIC  FACE  OF 
//ow  IS  one  to  assess  and  eva/nate  a  type  /ace  in  terms 
of  its  esthetic  design?  Why  do  the  pace-inafccrs  in  the 
art  of  printing  rave  over  a  specific  face  of  type?  W/i.it 
do  they  see  in  it?  Whv  is  it  so  super/ativc/v  pleasant  to 
their  eyes?  Good  design  is  aKvays  practical  design.  And 
iiiiat  they  sec  in  a  good  type  design  is,  partly,  its  ex- 
cellent practical  Htness  to  perform  its  work.  It  has  a 
"heft"  and  ba/ancc  in  all  of  its  parts  just  right  for  its 
size,  as  any  good  tool  has.  Yonr  good  chair  has  all  of  its 
parts  made  luvch  lo  the  right  size  to  do  exactly  the 
work  that  the  chair  has  to  do,  neither  clumsy  and 
thick,  nor  "skinny"  and  weak,  no  waste  of  material  and 
no  lack  of  strength.  And,  beyond  that,  the  chair  may 
hayc  been  made  In  a  man  who  workc</  out  in  if  his 
sense  of  fine  shapes  and  curves  and  proportions:  it  may 


(.(M  in>ic  fiinni  body) 

ABCi:)EFGHI|k'LMNOP0RSTUVWXY/& 

abcdefg;///kl.\/nopor.stuvwxyz& 

ABCDI.IGIII  JJKLMMN()FORSTUV\VXVZ& 

aljcdefghijklmnopqrstuvwxvz 

abcdc/ghi/l'/ninopqrstnvwxvz 
1234567890  ($£,.:;'-'?!*St!<[var)c^s^f^f1fffhfn)  12MS67890 
125.^567890  ($£,.:;'-'?/    S  t !  C'^r;  f^s.- fiflff ffiffl )  125-^567890 


Muhix  hi 
Kuiis  i„  '/ 


7AIXJ 


L.TWcr  ciise  alplKiliet.  'l^  p.'ints.  I'iKure  1,  JUI?:  J 
e.  Siiiallcsl  slut;  .in  h  Imli  lliis  i;nc  will  .  ;ist   is  S  p, 


tMiniiKi.  pen. 1(1  anil  Ihui  space.  .nj77. 
..r.I.  ZllllM. 


-C     LrNDTYPE   ")- 


9  POINT  ELECTRA  with  ITALIC  and  SMALL  CAPS 

HOW  IS  ONE  TO  ASSESS  AND  EVALUA'lE  A  TYPE  I'ACE  IN  TERMS  OI-  MS 
ESTIIF/nC  DI'.SIGN?  WHY  DO  I'HE  PACE-MAKERS  IN  THE  ART  OI-  PRIN  I'l 


I  low  IS  ONE  to  assess  and  evaluate  a  type  face 
in  terms  of  its  esthetic  design?  Why  do  the 
pace-iiiakcrs  in  the  art  of  printing  rave  over 
a  specific  face  of  type?  What  do  they  see 
in  it?  Why  is  it  so  superlatively  pleasant  to 
tlieir  eyes?  Good  design  is  always  practical 
design.  And  what  they  sec  in  a  good  type  de- 
sign is,  partiv,  its  excellent  practical  fitness 
to  perform  its  work.  It  has  a  "heft"  and  bal- 
ance in  all  of  its  parts  just  right  for  its  size, 
as  anv  good  tool  has.  Your  good  chair  has  all 
of  its  parts  made  niceh  to  the  right  size  to  do 


How  is  one  to  assess  and  evaluate  a  type  face 
in  terms  ot  its  esthetic  design?  Why  do  fhe 
pace-makers  in  the  art  of  printing  rave  o\  er 
a  specific  face  of  tvpc?  What  do  thev  sec 
ill  it^  Why  is  it  so  supcTJativcW  pleasant  to 
their  eyes?  Good  design  is  always  practical 
design.  And  what  thev  see  in  a  good  tvpc  de- 
sign is.  partly,  its  e.vccJIeiit  practical  fitness 
to  perform  its  work.  It  has  a  "heft"  and  bal- 
ance in  all  of  its  parts  just  right  for  its  size. 
as  am'  good  tool  has.  Your  good  chair  has  all 
of  its  parts  made  iii'ceh  to  the  right  size  to  do 

fuint   body  I 


ABCDEEGI II  f  k'LMNOPORSl'U  VWXYZcV 
ABCDEFGH//KLMiVOPORS7T;VWXYZcV 

.VBCnKFGHIJJKI.MMNOPgRSIUVWXYZi- 

abcdefghijklmnopc|rstuvw.\yz 
abcdefghi/klmiiopqrsttnwxyz 

12^,4^67890  ($£,.:;•-'?!* \\i  I  li-^Cy.^-hM^m)  12H^67S9n 
12^4567890  (.S£,.:;'-'?/   \  t  {(^•^Cx^a^-fiflffffiffl)  1234567^91} 


Matii.r  htU'im, 
Ulnis  III  '((I  ,li,ii 


'lAK.O.   I  ,.wci-  rasp  .ilpliahet .  117  p.. nils.    FiBiiir 
.IK.1/1IH-.  Sniallcsl  slug  .III  whuli  Iliis  late  will 


St  is  Id  p.iilil.  ( 


1165 


7  POINT  OPTTCON  with  ITALIC  and  SMALL  CAPS 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTHETI 

How  IS  ONE  to  assess  and  evaluate  a  type  face  How  is  one  to  assess  and  evaluate  a  type  face 

in  terms  of  its  esthetic  design?  Why  do  the  in  terms  of  its  esthetic  design?  Why  do  the 

pace-rnakers  in  the  art  of  printing  rave  over  pace-makers  in  the  art  of  printing  rave  over 

a  specific  face  of  type?  What  do  they  see  m  snecific  face  of  tvne"?  What  dn  th^v  <:f>A  in 

it?  Why  is  it  so  superlatively  pleasant  to  ^J^^.fl^  --f  °^  ^^P^'  ^nat  do  they  see  in 

their  eyes?  Good  design  is  always  practical  't?  Why  is  it  so  superlatively  pleasant  to 

How  is  one  to  assess  and  evaluate  a  type  face  ^ozw  is  one  to  assess  and  evaluate  a  type  face 

in  terms  of  its  esthetic  design?  Why  do  the  w  terms  of  its  esthetic  design?  Why  do  the 

{solid'  (one  point  leaded) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyz      12345  ($£,.:;'-'?!*t1:§11fiflfIffiffl)  67890 
abcdefghijklmnopqrstuvwxyz      12345  ($£,.:;'-'?!  tt§Tliiflffj]fi1fl)  67890 

Matrix  Information  :  7A180.  Lower  case  alphabet.  120  points.  Figures,  .059;  comma,  period  and  thin  space.  .OJ95.  Runs  in  90 
channel  magazine.  Code  word,  ZILZA. 

11  POINT  OPTICON  with  ITALIC  and  SMALL  CAPS 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TER 
How  IS  ONE  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant 
How  is  one  to  assess  and  evaluate  a  type  jace  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific 

(two  point  leaded) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTVVWXYZ& 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdef  ghij  klmnopqrstuv  wxy  z 

abcdefghijklmnopqrstuvwxyz 
12345  ($£,:;'-'?!*t1:§11fiflffffiffl)  67890 
12345  ($£,.:■;-'? I  tt§1lfiflffUi1fl)  67890 

Matrix  Information:  11A134.  Lower  case  alphabet,  153  points.  Figures.  .0761;  comma,  period  and  thin  space.  .038.  Runs  in  90 
channel  magazine.  Code  word.  ZIMAM. 

11  POINT  OPTICON  with  BOLD  FACE  No.  2 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TER 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific 
face  of  type?  What  do  they  see  in  it?  Why  is  it  so  superlatively  pleasant 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  specific 

( i7vn  pfliijf  leaded) 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdef  ghij  klmnopqrstuv  wxy  z 

abcdefghijklmnopqrstuvwxyz 
12345  ($£,.:;'-'?!*tti^llfiflffffiffl)  67890 
12345  ($£,.:;'-'?!*t:i:§11fiflffffiffl)  67890 

Matrix  Information :  nA138.  Lower  case  alphabet,  153  points.  Figures,  .0761;  comma,  period  and  thin  space,  .038.  Runs  in  90 
channel  magazine.  Code  word,  ZIPED. 


1166 


IVa  point  excelsior  with  BOLD  FACE  No.  2 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TERMS  OF  ITS  ESTH 


How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  type?  What  do 
they  see  in  it?  Why  is  it  so  superlatively 
pleasant  to  their  eyes?  Good  design  is  al- 
ways practical  design.  And  what  they  see 
in  a  good  type  design  is,  partly,  its  excel- 
lent practical  fitness  to  perform  its  work. 
It  has  a  "heft"  and  balance  in  all  of  its 
parts  just  right  for  its  size,  as  any  good  tool 
has.  Your  good  chair  has  all  of  its  parts 
made  nicely  to  the  right  size  to  do  exactly 
the  work  that  the  chair  has  to  do,  neither 
clumsy  and  thick,  nor  "skinny"  and  weak, 
no  waste  of  material  and  no  lack  of  strength. 
How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing 

(Oil  cuihl  point  body) 


How  is  one  to  assess  and  evaluate  a  type 
face  in  terms  of  its  esthetic  design?  Why 
do  the  pace-makers  in  the  art  of  printing 
rave  over  a  specific  face  of  type?  What  do 
they  see  in  it?  Why  is  it  so  superlatively 
pleasant  to  their  eyes?  Good  design  is  al- 
ways practical  design.  And  what  they  see 
in  a  good  type  design  is,  partly,  its  excel- 
lent practical  fitness  to  perform  its  work. 
It  has  a  "heft"  and  balance  in  all  of  its 
parts  just  right  for  its  size,  as  any  good  tool 
has.  Your  good  chair  has  all  of  its  parts 
made  nicely  to  the  right  size  to  do  exactly 
the  work  that  the  chair  has  to  do,  neither 
clumsy  and  thick,  nor  "skinny"  and  weak, 
no  waste  of  material  and  no  lack  of  strength. 
And,  beyond  that,  the  chair  may  have  been 

ion  nine  point  body  I 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDErGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyz 
abcdefghijklmnopqrstuvwxyz 

12345  ($£,.:;'-'?!*t$§1lfiflffffiffl)  67890 
12345  ($£,.:;'-'?!*tt81]fiflfffflffl)  67890 

Matrix  Information  :  7^A2.  Lower  case  alphabet,  125  points.  Figures.  .0622;  comma,  peri.id  and  thin  space.  .0,^1, 
Lhaiiiicl  magazine.  R  point  alignment.  Smallest  slug  on  which  this  face  will  cast  is  S  point.  Code  word.  ZIDIT. 


Q.ot LINOTYPE"   ) 

8  POINT  ERBAR  LIGHT  CONDENSED 
with  ERBAR  BOLD  CONDENSED 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TER 
How  Is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its 
esthetic  design?  Why  do  the  pacemakers  in  the  art  of  print- 
ing rave  over  a  specific  face  of  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  to  their  eyes?  Good  dejjgn 
is  always  practkal  design.  And  what  they  see  in  a  good  type 
design  is,  partly,  its  excellent  pradical  fitness  to  perform 
its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just 
right  tor  its  size,  as  any  good  tool  has.  Your  good  chair  has 
all  of  its  parts  made  nicely  to  the  right  size  to  do  exadly 
the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick, 
nor  "skinny"  and  weak,  no  waste  of  material  and  no  lack  of 
strength.  And,  beyond  that,  the  chair  may  have  been  made 
by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and 
curves  and  proportions:  it  may  be,  actually,  a  work  of  art. 
The  same  thing  holds  for  shapes  of  letters.  And  your  chair, 
or  your  letter  (if  a  true  artist  made  it)  will  have,  besides  its 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  A  TYPE  FACE  IN  TER 
How  is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its 
esthetic  design!  Why  do  the  pace-makers  in  the  art  of  print- 
ing rave  over  a  specific  face  of  type!  What  do  they  see  in  it! 
Why  is  it  so  superlatively  pleasant  to  their  eyes!  Good  design 
is  always  practical  design.  And  what  they  see  in  a  good  type 
design  is,  partly,  its  excellent  practical  fitness  to  perform 
its  work.  It  has  a  "heft"  and  balance  in  all  of  its  parts  just 
right  for  its  size,  as  any  good  tool  has,  Your  good  chair  has 
all  of  its  parts  made  nicely  to  the  right  size  to  do  exactly 
the  work  that  the  chair  has  to  do,  neither  clumsy  and  thick, 
nor  "skinny"  and  weak,  no  waste  of  material  and  no  lack  of 
strength.  And,  beyond  that,  the  chair  may  have  been  made 
by  a  man  who  worked  out  in  it  his  sense  of  fine  shapes  and 
curves  and  proportions:  it  may  be,  actually,  a  work  of  art. 
The  same  thing  holds  for  shapes  of  letters.  And  your  chair, 
or  your  letter  (if  a  true  artist  made  it)  will  have,  besides  its 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
abcdefghijklmnopqrstuvwxyz 
abcdefghijklmnopqrstuvwxyz 
12345  (S£,.:;'-'?!-1i:§1l)  67890 
12345  (S£..:;'-'!int§11)  67890 


Matrix  Itifoywatiou  :  SA504.  Luwer  case  alphabet,  82  points.  Figures, 
channel  ma^a/ine.  Ci)de  word.  ZIDZE. 


.0353;  connna,  period  and  thin  spate.  .0277.  Runs  in  90 


1167 


MEMPHIS  MEDIUM  CONDENSED  ivith  BOLD  CONDENSED 

in  Point 

HOW  IS  ONE  TO  ASSESS  AND  EVALUATE  HOW  IS  ONE  TO  ASSESS  AND  EVALUATE 

How  is  one  to  assess  and  evaluate  a  type  tace  How  is  one  to  assess  and  evaluate  a  type  face 

in  terms  of  its  esthetic  design?  Why  do  the  in  terms  of  its  esthetic  design?  Why  do  the 

pace-makers  in  the  art  of  printing  rave  over  a  pace-makers  in  the  art  of  printing  rave  over  a 

specific  face  of  type?  What  do  they  see  in  it?  specific  face  of  type?  What  do  they  see  in  it? 

Why  is  it  so  superlatively  pleasant  to  their  Why  is  it  so  superlatively  pleasant  to  their 

eyes?  Good  design  is  always  practical  design,  eyes?  Good  design  is  always  practical  design. 

And  what  they  see  in  a  good  type  design  is,  And  what  they  see  in  a  good  type  design  is, 

itwit  flint  leaded) 

Matiix  liiloniiatiuii :  I0A486.  Luwer  tase  alphabet.  114  points.  Figures.  .0622;  cunima.  period  and  thin  5i)ace.  .0311.  Runs  in  90 
channel  niaga/ine.  Code  word.  ZINIIU. 


-(..LINOTYPE"  "> 


HOW  IS  ONE  TO  ASSESS  AND  EVALU  HOW  IS  ONE  TO  ASSESS  AND  EVALU 
How  is  one  lo  assess  and  evaluate  a  How  is  one  to  assess  and  evaluale  a 
lype  face  in  lerms  of  ils  esthetic  de-  type  face  in  lerms  of  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the  sign?  Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face  art  of  printing  rave  over  a  specific  face 
of  type?  What  do  they  see  in  it?  Why  is  of  type?  What  do  they  see  in  it?  Why  is 
it  so  superlatively  pleasant  to  their  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  eyes?  Good  design  is  always  practical 

ttw,:  poinl  traded) 

Matrix  Information  :  liA480.  Lower  case  alphabet.  1,^5  points.  FiKure^.  .UG'H;  comma,  period  and  thin  space,  .0346.  Runs  in  90 
channel  magazine.  Code  word.  ZINID. 


-(..«  LINOTYPE" ")- 


HOW  IS  ONE  TO  ASSESS  AND  EV  HOW  IS  ONE  TO  ASSESS  AND  EV 

How  is  one  to  assess  and  evaluate  How  is  one  lo  assess  and  evaluale 

a  type  face  in  terms  of  its  esthetic  a  lype  face  in  lerms  of  ils  eslhelic 

design?  Why  do  the  pace-makers  design?  Why  do  Ihe  pace-makers 

in  the  art  of  printing  rave  over  a  in  Ihe  arl  of  prinling  rave  over  a 

specific  face  of  type?  What  do  they  specific  face  of  lype?  Whal  do  Ihey 

see  in  it?  Why  is  il  so  superlalive-  see  in  il?  Why  is  it  so  superlative- 


( tzvo  point  leaded  ) 


ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyz 

abcdefghijklmnopqrsluvwxyz 
12345  ($£,.:;'-'?! *tfflfiflffffiffl)  67890 
12345  ($£,.:;'-'?!*t$§1Ififlffftiffl)  67890 

Matrix  Injornwtiun  .  14A260.  Lower  case  alphabet.  155  points.  Figures.  .U8J:  cuiunia.  period  and  thin  space.  .0415.  Runs  in  90 
channel  magazine.  Code  word.  ZINIK. 


1168 


MEMPHIS  MEDIUM  CONDENSED 
with  EXTRA  BOLD  CONDENSED 


HOW  IS  ONE  TO  ASSESS  AND  EVALUATE 
How  is  one  io  assess  and  evaluate  a  type  face 
in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  of  printing  rave  over  a 
specific  face  of  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design  is, 


KOW  IS  ONE  TO  ASSESS  AND  EVALUATE 
How  is  one  to  assess  and  evaluate  a  type  face 
in  terms  of  its  esthetic  design?  Why  do  the 
pace-makers  in  the  art  oi  printing  rave  over  a 
speciKc  lace  of  type?  What  do  they  see  in  it? 
Why  is  it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical  design. 
And  what  they  see  in  a  good  type  design  is. 


Injin  mulivii  :  1()A4'^-1.   I.cuver  case  ;ill>li:iliet.   IHlmiiits.    FiKliii-s.  . 


iiniiiia.  pprind  and  tliiii  sp; 


O.ilL   Kiitis  in  90 


-(      LINOTYPE    '> 


HOW  IS  ONE  TO  ASSESS  AND  EVALU 
How  is  one  lo  assess  and  evaluate  a 
type  face  in  terms  of  its  esthetic  de- 
sign? Wfiy  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face 
of  type?  What  do  they  see  in  it?  Why  is 
it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical 


HOW  IS  ONE  TO  ASSESS  AND  EVALU 
How  is  one  to  assess  and  evaluate  a 
type  face  in  terms  ol  its  esthetic  de- 
sign? Why  do  the  pace-makers  in  the 
art  of  printing  rave  over  a  specific  face 
of  type?  What  do  they  see  in  it?  Why  is 
it  so  superlatively  pleasant  to  their 
eyes?  Good  design  is  always  practical 


Mut, 

c-liani 


1-  hiiiiriualUni:  l-'A'^"-.  I.i'wer  t-, 
•1  tnai4a/inf,  C.de  w..nl.  Zll'IY. 


I  l:r,>  f-'iiil  I,  ,ul,  ,1  > 
alT'liahet.   I  .IS  p.iints.   FiKlires.  .Iir.yj 

(LINOTYPE     )- 


periinl  ami  lliiii 


JlW).   Ruw^  in  90 


HOW  IS  ONE  TO  ASSESS  AND  EV 
How  is  one  lo  assess  and  evaluate 
a  type  face  in  terms  of  its  esthetic 
design?  Why  do  the  pace-makers 
in  the  art  of  printing  rave  over  a 
specific  face  of  type?  What  do  they 


HOW  IS  ONE  TO  ASSESS  AND  EV 
How  is  one  lo  assess  and  evaluate 
a  type  face  in  terms  of  its  eslhelic 
design?  Why  do  the  pace-makers 
in  the  art  of  printing  rave  over  a 
specific  face  of  type?  What  do  they 
see  in  it?  Why  is  it  so  superlative-    see  in  it?  Why  is  it  so  superlative- 

ABCDEFGHIJKLMNOPQRSTUVWXYZ& 
ABCDErGHIJKLNNOPQRSTUVWXYZ& 

abcdefghijklmnopqrstuvwxyz 
abcdefghijklmnopqrstuvwxyz 

12345  ($£,.:;'-'?!*t$§11{illfi«iftl)  67890 
12345  ($£,.:;'.'?!*t$§^fiflHffiffl)  67890 


Mall 
chain 


iiali,'n     MA-f>><.   l-uwer  case  alpliabet,   155  points.   Im^uic 
Miie.  l.nde  w.,i(l.  Zll'JU. 


pcruid  ami  Ihui  space.  .IM15.   Runs  i.l  90 


1169 


MEM'^HIS  BOLD  CONDENSED 

18  Point.  One-I.etter 

The  quick  brown  fox  jumps  over  the  lazy  dog.  How  is  one  io 
assess  and  evaluate  a  type  iace  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  spe- 
cific face  of  type?  What  do  they  see  in  it?  Why  is  it  so  su  1234 

Matii.v  Inii'iinatinn .  18A4(i7.  Lower  case  alphabet.  180  points.  Figures.  .0968.  Kuns  in  Oil  tliannel  magai'ine,  t\,de  word, 
ZIHRE. 

24  Toint.  One-I.ellfr 

The  quick  brown  fox  jumps  over  the  lazy  dog. 
How  is  one  to  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  s  1234 

Matiix  Information:  24A363.  Lower  rase  alphabet.  236  points.  Figures.  .1107.  Kuns  in  yo  channel  magazine.  Code  word, 
ZIHSL 

.iO  Point 

The  quick  brown  fox  jumps  over  Ihe  laz 
dog.  How  is  one  lo  assess  and  evaluate  a 
type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  1234 

Matrix  Information  :  30A287.  Lower  case  alphabet,  280  points.  Figure  1,  .1245;  2  to  0,  .1522.  Runs  in  72  channel  tnagazine;  also 
lower  case,  except  ni  and  w,  in  cap  channels  of  90  channel  magazine  with  caps  and  figures  in  34  channel  auxiliary  magazine. 
Smallest  slug  on  which  this  face  will  cast  is  29  point.  Code  word,  ZIHTO. 


36  Point 


The  quick  brown  fox  jumps  over  t 
lazy  dog.  How  is  one  to  assess  and 
evaluate  a  type  face  in  terms  of  its 
esthetic  design?  Why  do  the  1234 

Matrix  Information:  36A163.  Lower  case  alphabet,  325  points.  Figure  1.  .1522;  2  to  0,  .1798.  Runs  in  72  channel  magazine. 
Code  word.  ZIHYI. 


1170 


MEMPHIS  EXTRA  BOLD  CONDENSED 

18  I'oiiit.  Oiie-I  ettf-T 

The  quick  brown  fox  jumps  over  the  lazy  dog.  How  is  one  to 
assess  and  evaluate  a  type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  of  printing  rave  over  a  spe- 
cific face  of  type?  What  do  they  see  in  it?  Why  is  it  so  su  1234 

ZlJIio. 

24  I'ciiiit.  (liie-l-<-lt.i 

The  quick  brown  fox  jumps  over  the  lazy  dog. 
How  is  one  lo  assess  and  evaluate  a  type  face  in 
terms  of  its  esthetic  design?  Why  do  the  pace- 
makers in  the  art  of  printing  rave  over  a  s  1234 

MaliiA    hil.nmuli.'i,      J-4/\  ii.;.    I.,,uc|-    ,  asc   .ilplialier.    _'J(,    pmiits,    ligiires,    .IKj;.    kiiiis    iii    4(j    ..haiiiu.l    iiiaKa/iiie,    l.jdc    u.jiil. 

zijcu. 

ill  I'.iiiii 

Tlie  quick  brown  lox  jumps  over  the  laz 
dog.  How  is  one  to  assess  and  evaluate  a 
type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  1234 

Matii.v  Infill  Illation  ioAJyi.  l.tiwer  case  alphabet.  J81  points.  Figure  1.  .1245;  2  to  0.  .1522.  Runs  in  72  channel  magazine:  also 
loucr  case,  except  ni  and  w  .  in  cap  chainiels  uf  90  channel  niaga/ine.  with  caps  and  tigures  in  J4  channel  auxiliary  magazine. 
.Smallest  slug  ..ri  which  this  (ace  will  cast  is  29  point.  Code  word.  ZIJDA. 

.56  Point 

The  quick  brown  fox  jumps  over  1 
lazy  dog.  How  is  one  to  assess  and 
evaluate  a  type  face  in  terms  of  its 
esthetic  design?  Why  do  the  1234 

Main.!  htf.n-inatioi,  .iCAld?.  Lower  case  alphabet,  325  points.  Figure  1.  .1522;  2  to  0.  .1798.  Kuus  in  72  channel  magazine. 
Code  word.  ZIJED. 


1171 


MEMPHIS  BOLD  with  ITALIC 

24  Point.  Two-I.etter 

The  quick  brown  fox  jumps  over  t 
lazy  dog.  How  is  one  to  assess  and 
evaluate  a  type  face  in  terms  o  1234 

The  quick  brown  fox  jumps  over  t 
lazy  dog.  How  is  one  to  assess  and 
evaluate  a  type  face  in  terms  o  1234 

Matrix  Information :  24A20.  Lower  case  alphabet,  320  points.  Figure  1.  .1107;  2  to  0.  .166.  Runs  in  72  channel  magazine;  also 
in  WIHe  M  channel  auxiliary  magazine.  Code  word.  ZIPOM. 

MEMPHIS  MEDIUM  CONDENSED 

.in  i',,iiit 

The  quick  brown  fox  jumps  over  the  laz 
dog.  How  is  one  lo  assess  and  evaluate  a 
type  face  in  terms  of  its  esthetic  design? 
Why  do  the  pace-makers  in  the  art  1234 

Matrix  Infortiialion  :  MiA2X'J.  I-ower  case  alphabet.  277  puinls.  Figure  !.  .1245;  J  to  0.  .1522.  Runs  in  72  channel  niagai!:iiie ;  also 
lower  case,  except  m  and  w.  in  cap  channels  of  90  channel  magazine  with  caps  and  figures  in  34  channel  auxiliary  magazine. 
Smallest  slug  on  which  this  face  will  cast  is  29  point.  Code  word,  ZIJAJ. 

36  Point 

The  quick  brown  fox  jumps  over  t 
lazy  dog.  How  is  one  lo  assess  and 
evaluate  a  type  face  in  terms  of  its 
esthetic  design?  Why  do  the  1234 

Matrix  Information  :  36A16S.  Lower  case  alphabet,  324  points.  Figure  1,  .1522;  2  to  0,  .1798.  Runs  in  72  channel  magazine. 
Code  word.  ZIJAP., 


1172 


GARAMOND  BOLD  No.  3  ITALIC 

15  PciTit.  One-Lcllri 

The  quick  brown  fox  jumps  over  the  lazy  dog.  How 
is  one  to  assess  and  evaluate  a  type  face  in  terms  of  its 
esthetic  design?  Why  do  the  pace-makers  in  the  art 
of  printing  rave  over  a  specific  face  of  type?  Wh  ]234 

Mutii.r  liij,ti  iiiatiuH  :   IXA-115.   l.nwer  case  alphabet.  212  p.iints.   FiKure  1.  .0968;  2  to  0.  .1107.   Kmis  iii  'Jii  ihaiinci   iiiat!a/iiie. 

16  point  aliKiiim-nl.  (o.le  word.  Zll.AF. 

BODONI BOLD 

The  quick  brown  fox  j 
over  the  lazy  dog.  How 
is  one  to  assess  and  eval 
a  type  face  in  ter  1234 

Matri.v  J )iji>niialii'n  :  A2l\5'7.  l^nwer  case  alpliahet,  477  points.  Figures.  .3906.  Runs  in  Wide  34  thaiinel  auxiliary  inaga/iiic; 
alsi.)  Iipuer  case  in  rap  Lliannels  of  Wide  72  channel  niaga/ine.  Smallest  sIuk  '>n  which  this  face  will  cast  is  .16  pnint.  C'cifie  word. 
ZIFI'R. 

PABST  EXTRA  BOLD  CONDENSED 

42  I'..int 

The  quick  brown  (ox  ju 
over  the  lazy  dog.  How 
is  one  to  assess  and  eval 
a  type  (ace  in  ter  1234 

Malriv  hiU'iiiuilum  ■42A61.  I.ouer  lase  alphabet.  416  p.iints.  Figures.  ..(044.  Runs  ni  Wide  .i4  rhannel  auxiliary  niai;a/uie; 
also  lower  c.ise  in  rap  ihannels  of  Wide  72  channel  tuaga/ine.  Alignment  is  special.  Smallest  slug  on  which  this  face  will  cast 
is  36  point.  Code  word,  ZILIV. 


1173 


<A-P-L> 


A-P-L  MEMPHIS  MEDIUM  CONDENSED 

144  Point  Memphis  Medium  Condensed  (144A1076)  Lower  case  alphabet.  1276  points.  Code  word.  ZIPPU 

Healthy  4 


96  and  120  Point  Menipliis  Medium  Condensed  also  available 


A-P-L  MEMPHIS  EXTRA  BOLD  CONDENSED 

144  Point  Memphis  Extra  Bold  Condensed  (144A1077)  Lower  case  alphabet.  13J8  points.  Code  word.  ZIPTI 

Handy  6 

120  Point  Memphis  Extra  Bold  Condensed  (120A1077)  Lower  case  alphabet.  1133  points.  Code  word.  ZIP.SE 

Naples  37 

96  Point  Memphis  Extra  Bold  Condensed  (96A1077)  Lower  case  alphabet,  970  points.  Code  word.  ZIPRA 

Creating;  29 


1174 


U-P-L> 


A-P-L  CONDENSED  TITLE  GOTHIC 

120  Point  ('(.iHlriiM-d  Titk-  Golliic  llJOAimJ)  <'.iP"i.  fiKiires  and  ijuiiils  mily,  C.xle  wril,  ZICMIR 

RUGS  $189 

96  Point  Cnnileiised  Title  Gotliir  (9fiA1032)  Caps.  fiRtires  and  points  only.  Code  word.  ZEPON 

EIGHTY  54! 

12  Point  Conilensed  Title  (Jothic  (72A1032)  Caps,  fisjures  and  points  only.  Code  woril.  ZAI'AS 

FIRE  ROUTS  31 


A-P-L  BODONI  BOLD  CONDENSED 

,ln  Point  Bodoiii  Bold  Conden-.ed  (.«1A1068)  Lower  lase  alplial)et.  »2  points.  Code  word.  ZKZ()^ 

DRESSES  THAT  ARE  BEAUTIFUL 

Spring  styles  for  young  and  old  in  28 

24  PoinI   Hodoni   Hold  Condensed   (24A1068)   Lower  ease  alph.iljet.  .',il   |ioints.  Code  woril.  ZEZOS 

COLORFUL  SKATING  OUTFITS  IN  VOGUE 

Sport  outfits  have  matching  hat  and  scarf  $19 


1175 


<A-P-L> 


A-P-L  CLOISTER  BOLD  ITALIC 

fin  Point  Cloister  Bold  Italic  (60A1018)  Lower  case  alphabet.  559  points.  Code  word.  ZIMHA 

Grand  Opening  this 
Friday  evening  86 

A-P-L  CASLON  OLD  FACE  ITALIC 

60  Point  Caslon  Old  Face  Italic  (60AH)16)  Lower  ca.se  alphabet.  6.M  points.  Code  word.  ZEVDA 

Stepping  off  579 

A-P-L  BODONI  ITALIC 

72  Point  n,,d.>ni  Italic  (72A10241  Lower  case  alphabet.  74S  poiTits.  Code  word.  ZEVAJ 

Baffle  plates  6 

r,n  Point  Rodoni  Italic  ih()/\\02-i)  Lower  case  alphabet.  624  points.  Code  word.  ZF.VAC 

Height  of  fine  28 

A-P-L  POSTER  BODONI  ITALIC 

60  Point  Poster  Bodoni  Italic  {60A10J6)  Lower  case  alphabet.  1019  points.  Code  word.  ZIHIK 

Wiil  give  3 


1176 


LINOTYPE 
KEYBOARD  DIAGRAMS 


On  the  following  pages  are  shown  twenty-three  keyboard  diagrams  repre- 
senting those  most  used  in  the  United  States  and  Canada.  They  provide  a 
variety  to  cover  practical  operating  layouts  for  all  models  of  Linotypes,  their 
individual  application  depending  upon  the  face  and  magazine  to  be  used. 

The  diagrams  serve  a  two-fold  purpose.  First,  they  show  the  keyboard 
buttons  to  which  the  individual  characters  respond  in  a  given  layout.  Second, 
they  indicate,  by  the  numbers  under  the  buttons,  the  magazine  channels  in 
which  the  corresponding  characters  are  cut  to  run.  When  two  channels  of 
lower  case  "e"  are  used,  the  additional  channel  is  number  "0"  in  the  magazine. 

Any  departure  from  standard  layouts  is  to  be  avoided  due  to  magazine 
channel  size  limitations  and  the  possibility  of  error  in  ordering  sorts  of  such 
specially  cut  characters.  However,  if  it  becomes  essential  to  order  characters 
cut  for  special  channels,  always  designate  location  of  character  by  channel 
number  instead  of  character  regularly  assigned  to  that  channel :  "To  run  in 
Channel  No.  85,  Diagram  No.  12^  instead  of  "To  run  in  Cap  X  Channel." 


THE   DIAGRAMS 


DESCRIPTION                                                                     NUMBER  DESCRIPTION                                                                     NUMBER 

90-Channel:  72-Channel: 

Text  and  Display  Faces 12  Text  and  Display  Faces 103-C 

Text  and  Display  Faces 11  Text  and  Display  Faces 103 

Advertising  Figures 32  Two  Lower  Case  Fonts 149 

Two  Lower  Case  Fonts 135 

One  Lower  Case  and  Two  Cap  Fonts        6  55-Channel  Face 103-A 

One  Lower  Case  and  Two  Cap  Fonts  .    22-A 

One  Lower  Case  and  Two  Cap  Fonts      22-B  34-Channel: 

Two  Cap  Fonts 87  Caps  and  Figures 52 

Three  Cap  Fonts 6-A  Caps  and  Figures 163 

Three  Cap  Fonts 22  Lower  Case  and  Points 52-A 

Two  Lining  Faces 138  Advertising  Figures 51-A 

Three  Lining  Faces 98 

28-Channel: 

72-90-Channel  Keyboard,  Caps 95 

2  in  1  Linotype 150  Advertising  Figures 96 


1'°  LINOTYPE"--!^ 


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90 

(Standard  Linotype  Keyboard) 


DIAGRAM  No.  11 


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18            24  30  36  42  48  54  60 
90-CHANNEL  FACE,  FRACTIONS  KEYBOARD - 


66 


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90 


1178 


DIAGRAM  No.  32- 


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12      18     24     30     36     42     48     54     60     66     72     78     84 

ADVERTISING  FIGURES  IN  90-CHANNEL  MAGAZINE 


90 


DIAGRAM  No.  135 


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—  TWO  LOWER  CASE  FONTS  IN  90-CHANNEL  MAGAZINE  — 


72 


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90 


1179 


DIAGRAM  No.  6- 


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LOWER  CASE  AND  CAPS  OF  SAME  FACE  IN  LOWER  CASE  AND  CENTER 
~  CHANNELS-CAPS  OF  ANOTHER  FACE  IN  CAP  CHANNELS 


54  60  66  72  78  84  90 


DIAGRAM  No.  22-A 


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LOWER  CASE  AND  CAPS  OF  SAME  FACE  IN  LOWER  CASE  AND  SMALL  CAP 
CHANNELS-CAPS  OF  ANOTHER  FACE  IN  CAP  CHANNELS 


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■DIAGRAM  No.  87- 


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-TWO  CAP  FONTS  IN  90-CHANNEL  MAGAZINE- 


66  72  78  84  90 


1181 


DIAGRAM  No.  6-A- 


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THREE  CAP  FONTS  IN  90-CHANNEL  MAGAZINE- 
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DIAGRAM  No.  22 


66  72  78  84  90 


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18  24  30  36  42  48  54  60  66 

THREE  CAP  FONTS  IN  90-CHANNEL  MAGAZINE 

(Caps  in  center  according  to  Small  Cap  Layout) 


72  78  84  90 


DIAGRAM  No.  138 


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TWO  LINING  FACES  IN  90-CHANNEL  MAGAZINE 


DIAGRAM  No.  98- 


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THREE  LINING  FACES  IN  90-CHANNEL  MAGAZINE 


1183 


DIAGRAM  No.  150 


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(Combination  of  Diagrams  12  and  103-C) 


72 


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84  90 


DIAGRAM  No.  103-C 


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72-CHANNEL  FACE 


48  54  60  66  72 


1184 


(72-90-Channel  Keyboard,  2  in  1  Linotype) 


^ 


DIAGRAM  No .149 


19     25 


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TWO  LOWER  CASE  FONTS  IN  72-CHANNEL  MAGAZINE 

(7 2-90 -Channel  Keyboard,  2  in  1  Linotype) 


DIAGRAM  No.  103 


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(72-Channel  Keyboard) 


1185 


DIAGRAM  No.  103-A 


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—  55-CHANNEL  FACE  IN  72-CHANNEL  MAGAZINE 

(72-Channel  Keyboard) 


30 


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66 


61 


DIAGRAM  No.  52 


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1186 


6  11  17  23  29  34 

CAPS  AND  FIGURES  IN  34-CHANNEL  AUXILIARY  MAGAZINE 

(90-  or  72-90-Channel  Keyboard) 


DIAGRAM  No.  163 


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CAPS  AND  FIGURES  IN  34-CHANNEL  AUXILIARY  MAGAZINE  - 
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28 


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DIAGRAM  No.  52-A 


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■LOWER  CASE  AND  POINTS  IN  34-CHANNEL  AUXILIARY  MAGAZINE 


1187 


DIAGRAM  No.  51 -A 


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TWO  SETS  OF  ADVERTISING  FIGURES  IN  34-CHANNEL  AUXILIARY  MAGAZINE 


DIAGRAM  No.  95- 


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DIAGRAM  No.  96- 


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7 

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23  27 


0  0  Q  0  B  0  0 


22  26 


0 


■TWO  SETS  OF  ADVERTISING  FIGURES  IN 
28-CHANNEL  AUXILIARY  MAGAZINE 


2«  28 


1188 


(......LINOTYPE-^ 

SUGGESTED    FONT   SCHEMES 


On  the  following  pages  are  shown  a  wide  variety  of  font  arrangements  for  two-letter  and 
display  matrices,  each  of  which  is  designed  to  meet  specific  requirements  in  the  entire  field 
of  Linotype  composition.  The  quantities  suggested  for  each  character  are  based  on  the 
normal  frequency  of  use  of  that  character  in  the  class  of  work  to  which  a  given  font  arrange- 
ment is  best  adapted.  The  quantities  suggested  are  the  minimum  which  can  ordinarily  be 
used  with  economy,  although  in  some  cases  the  list  of  characters  may  be  modified  to  suit 
individual  requirements.  Two-letter  font  schemes  are  intended  for  4-  to  14-point  faces  while 
display  schemes  are  for  use  with  either  one-  or  two-letter  display  faces. 


TWO-LETTER    FACES,   90-CHANNEL   MAGAZINE 

No.  1 .  For  all-purpose  use,  such  as  book,  catalog,  adver- 
tising, newspaper  and  composition  in  small  faces  set  wide 
measure.  For  full-length  magazine.  1500  matrices. 

No.  2.  The  same  as  No.  1,  with  the  elimination  of  certain 
reference  and  other  characters  that  are  infrequently  used. 
A  good  serviceable  font  for  large  or  small  faces  in  any 
measure.  For  full-length  magazine.  1200  matrices. 

No.  3.  For  news  composition.  Not  suitable  for  book  work. 
Quantities  suggested  for  each  character  scientifically  cor- 
rect according  to  normal  frequency  of  use  in  newspaper 
composition.  For  full-length  magazine.  1100  matrices. 

No.  50.  Suggested  for  three-quarter  length  magazine. 
Similar  to  No.  2  font  but  with  quantity  of  characters  re- 
duced for  use  in  three-quarter  length  magazine.  1000  mat- 
rices. 

A  two-letter  cap  font  consisting  of  caps,  figures 
full-  or  three-quarter  length  magazines. 


No.  5 

and  points.  For 
677  matrices 


No.  4.  Suggested  for  use  in  split  magazine  straight  mat- 
ter or  job  composition  in  faces  10  to  14  point.  Also  a  ser- 
viceable font  for  smaller  faces  if  speed  and  wide  measures 
are  not  essential.  790  matrices. 


TWO-LETTER    FACES,  72-CHANNEL   MAGAZINE 

No.  1  3.  This  font  is  suggested  for  use  in  a  full-length  72- 
channel  magazine  of  a  display  machine  where  it  is  to  be 
used  part  time  on  news  matter.  Two  channels  of  lower  case 
"e"  are  included.  1200  two-letter  matrices. 

No.  47.  For  use  in  a  three-quarter  length  72-channeI 
magazine  of  a  display  machine  where  it  is  to  be  used  part 
time  on  news  matter.  Two  channels  of  lower  case  "e"  are 
included.  900  two-letter  matrices. 

No.  14.  Designed  for  12  or  14  point  two-letter  advertis- 
ing faces  in  72-channel  split  magazine.  Two  channels  of 
lower  case  "e"  are  included.  701  two-letter  matrices. 


DISPLAY   FACES,    90-CHANNEL    MAGAZINE 

No.  9.  This  is  an  all-purpose  arrangement  for  display 
faces  where  a  large  amount  of  composition  is  required. 
For  full-  or  three-quarter  length  magazine.  770  matrices. 

No.  10.  Same  as  No.  9  except  that  quantities  are  reduced 
for  split  magazine.  636  matrices. 

No.  1  1.    Cap  font  for  full-length  magazine.  619  matrices. 

No.  12.    Cap  font  for  split  magazine.  446  matrices. 

DISPLAY    FACES,   72-CHANNEL    MAGAZINE 

No.  17.  Suggested  for  use  in  a  full-  or  three-quarter 
length  magazine  on  display  machines,  where  display  is  to 
be  set  continuously  and  comparatively  condensed  faces 
are  used.  Two  channels  of  lower  case  "e"  and  15  extra 
thick  spaces  are  included.  690  matrices. 

No.  1  5.  The  regular  font  arrangement  for  display  faces 
in  split  magazine.  There  are  two  channels  of  lower  case 
"e"  and  a  channel  of  extra  thick  spaces.  565  matrices. 

No.  1  6.  A  font  of  caps,  figures  and  points  for  use  in  a 
split  magazine.  414  matrices. 

DISPLAY   FACES,    55-CHANNEL  ARRANGEMENT 

No.  20.  Full-  or  three-quarter  length  magazine  font  for 
extended  display  faces  that  run  in  55-channel  layout  of 
72-channel  magazine.  653  matrices. 

No.  18.  Split  magazine  font  adapted  to  large  extended 
display  faces  which  run  in  the  55-channel  layout  of  72- 
channel  magazine.  462  matrices. 

No.  19.  Cap  font  for  extended  display  faces  which  run  in 
the  55-channel  layout  of  72-channel  split  magazine.  338 
matrices. 

DISPLAY  FACES,  WIDE   72-CHANNEL   MAGAZINE 

No.  49.  The  regular  font  arrangement  for  display  faces 
in  Wide  72-channel  magazine.  There  are  two  channels  of 
lower  case  "e"  and  a  channel  of  extra  thick  spaces.  630 
matrices. 


1189 


MATRIX    FONT    SCHEMES 


TWO-LETTER  OR    DISPLAY   FACES 
AUXILIARY   MAGAZINE 

No.  22.  Regular  font  arrangement  for  all  yles  of  auxili- 
ary magazines  and  of  all  sizes  of  face.  289  matrices. 

No.  23.  A  font  scheme  where  caps  and  figures  run  in  one 
auxiliary  magazine  with  lower  case  and  points  in  another 
auxiliary  magazine.  Can  be  used  for  both  display  and  two- 
letter.  490  matrices. 


TWO-LETTER   OR    DISPLAY   FACES,  JOB   FONTS 

No.  21  and  2  1  A.  There  is  no  limit  to  the  amount  and 
variety  of  small  jobs  that  can  be  set  economically  and 
profitably  on  the  Linotype  by  means  of  small  job  fonts  of 
matrices.  This  arrangement  as  to  variety  of  characters 
and  quantities  of  matrices  is  merely  suggestive,  and  it 
may  be  varied  to  suit  your  needs.  These  fonts  are  useful 
for  setting  side  heads,  cards,  envelope  corners,  and  an  al- 
most unlimited  variety  of  small  jobs  that  would  other- 
wise tie  up  a  lot  of  expensive  material. 

A  small  10-drawer  steel  cabinet  (X-1587)  has  been  es- 
pecially designed  for  the  use  of  matrix  job  fonts.  Each 
drawer  has  58  compartments,  sufficient  for  a  complete 
font  of  caps  and  lower  case.  In  addition  there  is  an  undi- 
vided auxiliary  drawer  at  the  bottom  for  tool-storage.  The 
cabinet  can  be  set  under  the  sorts  stacker  of  the  machine 
or  any  location  most  convenient  for  setting  and  distribu- 
tion without  leaving  the  keyboard. 


LINING   GOTHIC    FACES 

No.  7.  Provides  for  three  complete  cap  fonts  of  Lining 
Gothics  in  one  magazine.  Keyboard  diagram  No.  98. 
Quantities  or  variety  of  side  sorts  may  be  changed  to  suit 
requirements.  For  split  magazine.  1469  matrices. 

No.  7A.  Provides  for  cap  font  of  Lining  Gothic  when 
same  is  to  run  in  cap  channels.  Keyboard  diagram  No.  98. 
For  split  magazine.  485  matrices. 

No.  7B.  Provides  for  cap  font  of  Lining  Gothic  when 
same  is  to  run  in  small  cap  channels.  Keyboard  diagram 
No.  98.  For  split  magazine.  514  matrices. 

No.  7C.    Provides   for  cap   font  of  Lining   Gothic  when 
same  is  to  run  in  lower  case  channels.  Keyboard  diagrar 
No.  98.  For  split  magazine.  470  matrices. 

No.  8.  Provides  for  two  complete  cap  fonts  (caps  and  fig- 
ures) of  Lining  Gothics  in  one  magazine.  Keyboard  dia- 
gram No.  138.  Quantities  or  variety  of  side  sorts  may  be 
changed  to  suit  requirements.  For  split  magazine.  979 
matrices. 

No.  8A.  Provides  for  cap  font  (caps  and  figures)  Lining 
Gothic  when  same  is  to  run  in  the  right  side  of  the  maga- 
zine. Keyboard  diagram  No.  138.  For  split  magazine.  509 
matrices. 


No.  SB.  Provides  for  cap  font  (caps  and  figures)  Lining 
Gothic  when  same  is  to  run  in  left  side  of  magazine.  Key- 
board diagram  No.  138.  For  split  magazine.  470  matrices. 

No.  6.  A  cap  font  of  Lining  Gothics  or  other  job  faces  to 
run  in  the  magazine.  See  No.  2 1  for  job  font.  For  split 
magazine.  509  matrices. 

COMBINATION    FONT   SCHEMES 
90-CHANNEL   SPLIT   MAGAZINE 

No.  59.  A  set  of  caps  and  points  of  two-letter  or  display 
faces  running  in  center  or  cap  channels.  Figures  run  pi. 
Keyboard  diagrams  No.  6,  6A,  22,  22A,  22B  or  87.  360 
matrices. 

No.  52.  A  set  of  caps  and  points  of  two-letter  or  display 
faces  running  in  lower  case  channels.  Figures  run  pi.  Key- 
board diagrams  No.  6A,  22  or  87.  390  matrices. 

No.  53.  A  set  of  lower  case,  points  and  caps  of  two-letter 
or  display  faces  running  in  lower  case  and  center  or  in 
lower  case  and  cap  channels.  Figures  run  pi.  Keyboard 
diagrams  No.  6,  22A  or  22B.  660  matrices. 

No.  54.  A  set  of  lower  case,  points  and  caps  of  two-letter 
roman  with  italic  and  small  cap  faces,  running  in  lower 
case  and  center  channels,  or  in  lower  case  and  cap  chan- 
nels. Figures  run  pi.  Keyboard  diagrams  No.  6,  22A  or 
22B.  770  matrices. 

COMBINATION    FONT  SCHEMES 
90-CHANNEL  SPLIT  AND  AUXILIARY  MAGAZINE 

No.  24.  Set  of  display  caps,  lower  case  and  figures  and 
points,  running  lower  case  in  cap  channels  of  90-channel 
magazine  with  caps  and  figures  in  auxiliary  magazines. 
570  matrices. 

No.  55.  A  set  of  display  caps,  lower  case,  figures  and 
points,  running  lower  case  and  points  in  left  side  of  90- 
channel  magazine  (Diagram  No.  135),  with  caps  and  fig- 
ures in  auxiliary  magazine.  667  matrices. 

No.  56.  A  set  of  display  caps,  lower  case,  figures  and 
points,  running  lower  case  and  points  in  right  side  of  90- 
channel  magazine  (Diagram  No.  135),  with  caps  and  fig- 
ures in  auxiliary  magazine.  600  matrices. 

COMBINATION    FONT   SCHEMES 
72-CHANNEL  SPLIT  AND  AUXILIARY  MAGAZINE 

No.  57.  A  set  of  display  caps,  lower  case,  figures  and 
points,  running  lower  case  and  points  in  left  side  of  72- 
channel  magazine  (Diagram  No.  149),  with  caps  and  fig- 
ures in  auxiliary  magazine.  550  matrices. 

No.  58.  A  set  of  display  caps,  lower  case,  figures  and 
points,  running  lower  case  and  points  in  right  side  of  72- 
channel  magazine  (Diagram  No.  149),  with  caps  and  fig- 
ures in  auxiliary  magazine.  510  matrices. 


\ 


♦ 


1189a 


MATRIX    FONT    SCHEMES 


TWO-LETTER    FACES 


1.  90-Channel  Full  Length  Magazine,  1500  Matrices 


Roman  with  Bold  Face  or  Italic 


Caps—  Lower  Case  — F 

igs., 

Pts.,  Etc.-, 

.^Sorts-, 

A    18 

20 

1 

20 

fi      10 

r 

5 

B    12 

IS 

2 

20 

11       10 

1 

5 

C   12 

20 

S 

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ff      HI 

en 

D   15 

20 

4 

20 

ffi     10 

dshlO 

E   IS 

20 

.-, 

20 

ffl    10 

se 

5 

F    12 

18 

fi 

20 

1       20 

ce 

5 

G   12 

15 

7 

20 

em 

/K 

4 

H   15 

20 

S 

20 

clsh20 

CE 

4 

I     15 

20 

9 

20 

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% 

4 

J     IS 

15 

0 

20 

m     10 

£ 

5 

K    12 

12 

$ 

10 

fii      10 

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L    12 

20 

(t 

12 

thin 

? 

4 

M    18 

20 

20 

sp  20 

t 

4 

N    15 

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20 

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t 

4 

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20 

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12 

sp   20 

Vr 

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10 

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sp   20 

% 

6 

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20 

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V, 

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20 

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% 

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20 

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em  .  . 

% 

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20 

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Idr  20 

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15 

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10 

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12 

) 

10 

Y    10 

15 

hv 

)li- 

Z    10 

10 

20 

Roman  with  Italic  and  Small  Caps 
Caps—lower  Case     Figs.,  Pts.,  Etc. 


-Sorts- 


A   12 

20 

1 

20 

li 

S 

[ 

4 

Roman 

B   10 

15 

^; 

20 

fi 

H 

] 

4 

w.  Ital. 

C    12 

20 

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20 

ff 

S 

en 

1         4 

D   12 

20 

1 

20 

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10 

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2         4 

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5 

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F   12 

18 

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0 

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15 

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fj 

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?, 

2.  90-Channel  Full  Length  Magazine,  1200  Matrices 


Roman  with  Bold  Face  or  Italic 


Caps— .Lower  Ca 

>e-F 

igs., 

Pts.,  EtC.-^ 

,-Sorts-, 

A   16 

20 

1 

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fi 

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12 

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Z       5 

10 

10 

Roman  with  Italic  and  Small  Caps 


A   12 

20 

1 

lyj.,  1 

fi 

4 

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2 

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B      8 

15 

2 

1  5 

11 

4 

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C   10 

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3.  90-Channel  Full  Length  Magazine,  1100  Matrices 


Roman  with  Bold  Face 

or  Italic 

Caps—  LowcrCa 

>e-F 

igs., 

Pts.,  Etc.-, 

A    15 

211 

1 

IX 

1       10 

H    10 

12 

2 

IX 

em 

C    12 

12 

3 

IX 

dshl2 

D    12 

17 

4 

IS 

5 

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20 

r, 

IS 

thin 

F      9 

12 

fi 

IS 

sp   20 

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12 

7 

18 

fig 

H    12 

IS 

S 

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sp   20 

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i; 

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sp   20 

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L    12 

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M    12 

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IX 

15 

Idr  20 

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P      8 

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Q      5 

fi 

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20 

12 

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Vs       4 

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s 

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%       4 

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hv 

th- 

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Z       4 

fi 

is 

%       4 

Roman  with  Italic  and  Small  Caps 
Caps— Lowercase— Figs.,  Pts.,  Etc.-^ 


A  14 
B  10 
C  12 
D  12 
E  Ifi 
F  S 
G  8 
H  12 
I  12 
J  5 
K  fi 
H  12 
M  12 
X  1  I 
O  14 
P  S 
Q  5 
i;  12 
S  14 
T    14 


20 
12 
12 
15 
20 
12 
12 
Ifi 


15 
20 
10 

i; 

IS 
20 
20 
12 
8 
8 


1  IS 

2  IS 

3  IS 

4  IX 

5  18 

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7  IS 

8  IS 

9  IS 
(I  20 

.$       r, 

6  4 
15 
15 

;        s 
:       i; 

(lUt)te' 

10 

apos  ' 

12 


)         8 

h\ph- 

15 


cm 
d.shl2 

thin 
sp    20 
tin 

sp    20 
em 


,-Sorts.., 

'r,     3 

V8  3 

Vi  3 

%  3 

V-  3 

%  .'i 

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z  2 

&  2 

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w.  lla 
& 


sp    211 

( 

en 

) 

Idr  20 

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em  .  . 

11 

Idr  20 

ffl 

tli 

1189b 


MATRIX    FONT    SCHEMES 


TWO-LETTER    FACES 

50.  90-Channel  ^A-Length  Magazine,  1000  Matrices 

Roman  with  Bold  Face  or  Italic 


Caps^LowerCase  — 

-igs., 

Pts.,  Etc.^ 

A   15 

Ifi 

1 

14 

1       10 

B   10 

12 

2 

14 

em 

C   12 

12 

3 

14 

dshl  2 

D   12 

15 

4 

14 

*                ^ 

E   16 

16 

5 

14 

thin 

P      9 

12 

6 

14 

sp   16 

G      9 

12 

1 

14 

fig 

H   12 

16 

S 

14 

sp   16 

I     14 

16 

!l 

14 

em 

J       5 

6 

0 

16 

sp   16 

K     6 

S 

$ 

S 

em  sp 

L   12 

16 

H: 

4 

inffll6 

M   12 

15 

15 

em     . 

N   14 

16 

15 

klr  16 

O   15 

16 

S 

em  .  . 

P     S 

10 

6 

kir  16 

Q      5 

6 

quote' 

R   12 

16 

10 

Sorts 

S    15 

16 

apos  ' 

'~o       3 

T    15 

16 

12 

Vs       4 

U     9 

12 

} 

5 

%       4 

V     6 

S 

? 

r 

%       4 

W     6 

10 

( 

8 

1/.       4 

X      4 

s 

) 

S 

%       4 

Y      6 

10 

h\ 

ph- 

%       4 

Z       4 

6 

15 

%       4 

Roman  with  Italic  and  Small  Caps 

Caps--,L 

jwerCase— F 

igs.,Pt 

s.,  Etc.-, 

^Sorls^ 

A   14 

16 

1 

14 

fi        4 

%       3 

B   10 

12 

2 

14 

f!        4 

Vs       3 

C    10 

12 

3 

14 

ff        4 

Vi       3 

D   12 

14 

4 

14 

ffi       4 

%       3 

E   Ifi 

16 

5 

14 

ffl       4 

1/2       3 

F      S 

12 

6 

14 

Ee       5 

%       3 

G      S 

12 

7 

14 

oe      4 

%       3 

H   10 

15 

8 

14 

1       s 

yg       3 

I     12 

16 

!t 

14 

em 

X       2 

J       5 

6 

0 

16 

dshl  2 

z        2 

K      6 

S 

$ 

6 

*        5 

&        2 

L   12 

15 

i*i 

4 

thin 

M    10 

14 

15 

sp   16 

Roman 

N    14 

14 

, 

15 

fig 

w.  Ital. 

O   14 

16 

; 

8 

sp   16 

&       2 

P      S 

10 

6 

em 

9 

Q      5 

6 

quote' 

sp   16 

(         2 

R   12 

15 

10 

en 

)         2 

S    14 

16 

apos  ' 

Idr  16 

Z        2 

T    14 

16 

12 

em  .  . 

fl        2 

U     S 

12 

I 

5 

Idr  16 

m     2 

V      6 

8 

7 

5 

ffl     2 

W      6 

8 

( 

8 

X      4 

8 

) 

8 

Y      6 

10 

hyph- 

Z       4 

6 

lb 

5.  90-Channel  Full  or  V4-Length 
Magazine  Cap  Font,  677  Matrices 


Caps^ 

^F 

igs.,Pl 

.,  Etc.^ 

A   15 

1 

10 

em 

B   12 

9 

16 

dshlO 

C   12 

3 

16 

thin 

D    12 

4 

16 

sp  16 

E    15 

5 

16 

fig 

F    12 

6 

16 

sp   16 

G   12 

7 

16 

em 

H   12 

8 

16 

sp   16 

I     15 

9 

16 

J     12 

0 

16 

Sorts 

K   12 

$ 

10 

^     3 

L   12 

& 

10 

CE      3 

M   12 

16 

N    12 

16 

0    15 

12 

P    10 

10 

Q      8 

quote' 

R   12 

16 

S     12 

apos  ' 

T   15 

16 

U   12 

1 

6 

V      8 

9 

6 

W    10 

( 

8 

X      8 

) 

8 

Y      S 

hvph- 

Z       8 

16 

4.  90-Channel  Split  Magazine, 

790  Matrices 

Roman 

with  B 

old  Face 

or  Italic 

Roman  with  Italic  and  S 

nail  Caps 

Caps— Lower  Case— F 

igs.. 

Pts.,  Etc.-^ 

rSorts~> 

Caps— slower  Case  — F 

igs.,  Pts.,  Etc.-^ 

rSorts> 

A    11 

12 

1 

9 

fi        5 

Vs 

2 

A 

10 

12 

1 

8 

fi       5 

Vs       2 

B     ;t 

10 

2 

9 

fi 

% 

2 

B 

8 

10 

9 

8 

fi       5 

Vi       2 

C   10 

10 

3 

9 

ff        5 

% 

2 

C 

10 

10 

:{ 

8 

ff        5 

%       2 

D   10 

11 

4 

9 

fli       5 

li. 

2 

P 

10 

10 

4 

8 

ffi       5 

i/i       2 

E   12 

12 

5 

9 

ffl       5 

% 

2 

E 

12 

12 

5 

8 

ffl       5 

%       2 

F     y 

1(1 

6 

9 

1        10 

^4 

2 

F 

8 

10 

6 

8 

a?       4 

%       2 

1 ;     9 

10 

7 

9 

em 

% 

2 

G 

8 

10 

7 

8 

oe      4 

%      2 

H    II) 

12 

8 

9 

dshlO 

H 

10 

12 

8 

8 

1       10 

X       2 

1    11 

12 

9 

9 

♦        3 

I 

10 

12 

!1 

8 

em 

z       2 

J     5 

0 

II 

12 

thin 

J 

5 

6 

0 

10 

dshlO 

&        2 

K      6 

8 

$ 

7 

sp   12 

K 

5 

8 

$ 

6 

*        3 

L    10 

12 

& 

4 

fig 

L 

10 

12 

& 

4 

thin 

Roman 

M    10 

11 

12 

sp   12 

M 

10 

10 

12 

sp   12 

w. Ital. 

N    11 

12 

, 

12 

em 

N 

10 

12 

^ 

12 

fig 

&       2 

()    12 

12 

f) 

sp  12 

0 

10 

12 

1 

5 

sp   12 

2 

r    7 

s 

5 

en 

r 

6 

S 

5 

em 

(        2 

Q     5 

6 

quote' 

Idr  12 

Q 

5 

6 

quote' 

sp   12 

)        2 

R    10 

12 

s 

em  .  . 

K 

10 

12 

8 

en 

Z        2 

S     12 

12 

apos  ' 

idr  12 

s 

10 

12 

apos  ' 

Idr  12 

fi        2 

T    12 

12 

10 

T 

12 

12 

10 

em  .  . 

ffl       2 

U      7 

8 

! 

4 

IT 

6 

8 

r 

4 

Idr  12 

ffl       2 

V      6 

7 

9 

4 

V 

6 

7 

■} 

4 

W      6 

9 

( 

6 

W 

6 

8 

( 

6 

X      4 

7 

) 

6 

X 

4 

6 

) 

6 

Y      6 

9 

hyph- 

Y 

6 

9 

hyph- 

Z       4 

0 

12 

Z 

4 

5 

12 

72-Channel  Magazine,  Roman  with  Bold  Face  or  Italic 


13.  Full  Length  Magazine, 
1200  Matrices 


Caps-,L 

Dwer  Case— Figs., 

Pts.,  Etc.-^ 

A   18 

20 

1      18 

em 

B   12 

18 

2      IS 

sp   20 

C   12 

20 

3      IS 

D    15 

20 

4       18 

Sorts 

E    IS 

40 

5       18 

Z        6 

P    12 

18 

6       18 

&       5 

G   12 

15 

7       IS 

:         5 

H   15 

18 

S       IS 

!         4 

I     16 

20 

9       IS 

?        4 

J     15 

15 

0      20 

(         5 

K    12 

12 

$       10 

)         5 

L    12 

20 

IS 

*        5 

M   18 

18 

IS 

Vs       2 

N    16 

20 

;            M 

V4,       2 

0    16 

20 

quote' 

%       2 

P    12 

15 

14 

1/2       2 

Q      S 

10 

ai)Os  ' 

%       2 

R   12 

20 

14 

%       2 

S    18 

20 

hy  ph- 

7s      2 

T    18 

20 

is 

F    15 

20 

em 

V    10 

1  2 

d.shlO 

W    10 

1  5 

thin 

X      5 

12 

sp   20 

Y      8 

12 

fig 

Z       - 

10 

.sp   20 

47.   V4-Length  Magazine, 
900  Matrices 

Caps— Lowercase— Figs.,  Pts.,  Etc.—, 


14.  Split  Magazine, 
701  Matrices 


A   15 

16 

1 

14 

em 

B   10 

12 

2 

14 

sp 

16 

C   12 

12 

3 

14 

1/   12 

15 

4 

14 

So 

ts 

E   16 

32 

5 

14 

Z 

F     9 

12 

6 

14 

iVi 

G      9 

12 

7 

14 

H   12 

16 

8 

14 

' 

I     14 

16 

9 

14 

■> 

J       5 

6 

0 

14 

( 

4 

K      6 

8 

$ 

S 

) 

4 

L    12 

16 

15 

M    12 

15 

, 

15 

N    14 

16 

• 

S 

0    15 

16 

quote' 

P      S 

10 

10 

Q      5 

6 

apos  ' 

R   12 

16 

12 

S     15 

16 

hyph- 

T   15 

16 

lb 

U      9 

12 

en! 

V      6 

6 

dsh  8 

W      6 

10 

thin 

X      4 

6 

sp 

16 

Y      6 

10 

fig 

Z 

6 

sp 

16 

Caps^LowerCa 

se-F 

95., 

ns.,  Etc 

.-, 

A   10 

10 

1 

10 

em 

B   10 

10 

2 

10 

sp 

10 

C   10 

10 

3 

10 

])    10 

10 

4 

10 

Sorts 

E    10 

20 

5 

10 

Z 

5 

F    10 

10 

6 

10 

& 

5 

G    10 

10 

1 

10 

3 

H      9 

10 

8 

10 

! 

3 

I     10 

10 

9 

10 

9 

3 

J       9 

s 

0 

10 

( 

3 

K      6 

6 

$ 

8 

) 

3 

I.   10 

10 

10 

V, 

3 

M    10 

10 

, 

10 

V4 

3 

N    10 

10 

; 

6 

% 

3 

0   10 

10 

quote' 

V? 

3 

P      8 

10 

8 

% 

3 

Q      4 

6 

apos  ' 

% 

3 

R      8 

10 

S 

% 

3 

S     10 

10 

hyph- 

T    10 

10 

10 

U     8 

10 

em 

V     5 

6 

dshlO 

W      5 

s 

thin 

X      4 

6 

sp 

10 

Y      5 

8 

fig 

Z       - 

6 

sp 

10 

1190 


MATRIX    FONT    SCHEMES 


9.  90-Channel  Full  or  10. 

Va-Length  Magazine,  770  Matrices 


DISPLAY   FACES 

90-Channel  Split  Magazine, 
636  Matrices 


Caps-  LowerCa 

,e  -Figs,  Pt 

s.,  Etc 

Cap< 

-.Lower  Ca 

e-Figs,  Pt 

s.,  Etc. 

A    12 

14 

1       10 

n 

3' 

A 

S 

12 

1 

G 

li 

B     ;i 

10 

2      10 

(1 

:i 

B 

r, 

S 

2 

G 

11 

C    10 

10 

;{      1 0 

ff 

3 

C 

G 

8 

•^, 

G 

ff 

D    10 

12 

4       10 

fii 

;i 

D 

G 

S 

4 

G 

ffi 

E    14 

14 

,')       1 0 

111 

?, 

K 

9 

12 

5 

•; 

Ifl 

F      S 

10 

t;     111 

lish 

s 

F 

S 

G 

G 

dslil 

n    s 

;i 

7      10 

thin 

r; 

S 

7 

1; 

thin 

H    10 

12 

S        10 

sp 

IS 

H 

9 

s 

1; 

sp   1 

T     11 

14 

9      10 

fis 

I 

12 

;i 

G 

fig 

J       G 

t; 

0       1 2 

sp 

15 

J 

G 

0 

10 

sp   1 

K     r, 

0 

$      i; 

em 

K 

G 

$ 

G 

em 

L  l(t 

12 

&      :\ 

sp 

15 

I. 

10 

& 

.", 

sp   1 

M    10 

10 

10 

en 

M 

S 

12 

en 

N    11 

12 

.         10 

l(ir 

15 

N 

10 

, 

12 

Idr  1 

O    12 

14 

;         t; 

em 

0 

12 

G 

em  . 

P      7 

s 

:          ') 

Idr 

it 

r 

S 

r. 

Idr  1 

Q     4 

f, 

quote' 

Q 

G 

<|i 

ote' 

}l    10 

12 

S 

R 

10 

S 

S     12 

14 

apos  ' 

S 

10 

:u 

OS  ' 

T    12 

14 

10 

T 

12 

S 

K      S 

;i 

!        4 

U 

9 

I 

4 

V     -. 

0 

?        4 

V 

G 

•? 

4 

w    r, 

S 

(       r, 

w 

7 

'(. 

5 

X      3 

t; 

) 

X 

G 

) 

5 

Y      « 

s 

hviih- 

X 

7 

h\ 

pli- 

Z       4 

r. 

10 

7, 

4 

G 

12 

11.  90-Channel  Full  Length 
Magazine  Cap  Font,  619  Matrices 


Caps-. 

F 

iqs.,  Pt 

v,Elc. 

A    14 

1 

12 

dsh20 

B    12 

•' 

10 

thin 

C    12 

:', 

10 

sp   20 

IJ    10 

4 

10 

fiK 

J3    IS 

r, 

ir, 

s))   20 

F    10 

<; 

10 

em 

G    10 

7 

10 

sp  20 

H   10 

X 

10 

T     14 

9 

10 

Sorts 

J     12 

0 

20 

/E      2 

K    10 

$ 

10 

CE      2 

1.    12 

& 

r: 

1/8       2 

M    12 

IG 

Vi     -i 

X    14 

IG 

%       2 

0    14 

■ 

S 

y.      -^ 

P    10 

6 

%      2 

Q      S 

(|uote' 

■''4            - 

R    12 

12 

%       2 

R     14 

apos  ' 

T    14 

12 

V      N 

7 

;> 

W    10 

( 

:! 

.\-      G 

) 

:'. 

V    10 

hv 

,h- 

z      r, 

12 

12.  90-Channel  Split  Magazine  17.  72-Channel  Full  or  15.  72-Channel  Split  Magazine, 

Cap  Font,  446  Matrices  V4-Length  Magazine,  690  Matrices  565  Matrices 


Caps-. 

F 

gs.,  Pl« 

..Etc.--, 

A    12 

1 

dsh    G 

B      S 

2 

Ihin 

c    s 

:i 

sp    12 

l>    s 

4 

tig 

E    12 

,") 

sp    12 

F      >< 

G 

em 

t;     .s 

7 

sp    12 

n    s 

S 

1      12 

9 

Sorts 

J        8 

0 

10 

.E      2 

K      G 

$ 

CK      2 

L    10 

.t 

%       2 

M   10 

10 

y*     2 

N    12 

, 

10 

%    2 

()    12 

■ 

G 

1;,       2 

P      8 

G 

■yH       2 

Q       G 

(|iiole' 

%       2 

R    12 

s 

%       2 

R     12 

Ml  HIS 

T    12 

8 

V      G 

7 

G 

W      8 

( 

4 

X      4 

) 

4 

Y      8 
Z        G 

h.\- 

ih- 

10 

Lower 

Figs., 

Caps-. 

Case-. 

,-Pts. 

Etc.^ 

A 

10 

12 

1 

10 

B 

i 

10 

0 

10 

(' 

7 

10 

3 

10 

P 

/ 

10 

4 

10 

K 

14 

77 

f, 

10 

F 

i 

10 

G 

10 

(! 

I 

10 

7 

10 

H 

7 

10 

8 

111 

1 

8 

12 

9 

10 

J 

1: 

8 

0 

10 

K 

G 

8 

$ 

3 

P 

8 

10 

12 

M 

t 

10 

12 

N 

X 

10 

^, 

( ) 

s 

12 

apos  ' 

r 

s 

s 

.s 

Q 

G 

7 

by 

>h- 

1; 

s 

12 

10 

s 

111 

1  2 

Ihm 

S|) 

T 

I  0 

1  2 

.0  8:'. 

12 

1' 

7 

10 

Ihin 

sp 

V 

7 

8 

0277 

11 

W 

7 

8 

fif? 

X 

G 

G 

sp 

11 

V 

7 

S 

em 

sp 

z 

G 

G 

.33o 

I.'', 

, -Sorts-, 


(Illcle 


dsh 


Lower 

Figs., 

Cap 

s-~. 

Case- 

Pis.,  Etc. -^ 

A 

8 

10 

1        10 

B 

r 

,s 

2      10 

(' 

f, 

s 

3       10 

n 

r, 

s 

4       10 

E 

8 

211 

5       10 

F 

5 

s 

1;      1 0 

(} 

r^ 

s 

7      10 

H 

(; 

8 

8        1  I) 

1 

8 

10 

9      10 

J 

4 

r, 

0       10 

K 

4 

.f", 

$          8 

P 

G 

8 

10 

M 

G 

s 

10 

X 

G 

10 

,", 

( ) 

G 

10 

apos  ' 

P 

r. 

,s 

G 

Q 

4 

^, 

h\ph- 

R 

G 

10 

10 

S 

G 

10 

Ihin  sp 

T 

1; 

10 

.083  10 

U 

G 

10 

thin  s)) 

V 

4 

,', 

0277  10 

w 

5 

G 

fig 

X 

3 

,5 

sp    10 

Y 

z 

4 

■^> 

em  sp 
.333  10 

.Sorts-, 


ipiolf 


dsh 


16.  72-Channel  Split  Magazine  20.  55-Channel  Full  or  18.  55-Channel  Split  Magazine, 

Cap  Font,  414  Matrices  ^A-Length  Magazine,  653  Matrices  462  Matrices 

rSorts-, 


Figs., 

Caps-. 

-Pts.,Etc 

A    10 

1       10 

B    10 

2      10 

C    10 

3      10 

D    10 

4       10 

E    10 

,',         10 

F      7 

1;      10 

G      7 

7       10 

H      7 

8      10 

I     10 

9       10 

J       7 

0       10 

K      7 

$       10 

I,    10 

10 

M      7 

10 

N    10 

7, 

(1    10 

apos  ' 

I'      7 

4 

Q      7 

hyph- 

R    10 

t 

S     10 

Ihin  sp 

T    10 

.0277  10 

P      7 

fig 

\'       7 

sp    10 

W      7 

em  SI). 

X      G 

.333  10 

Y      7 

z     1; 

d.sh    3 


Lower 

Lower 

Caps-, 

-Case^ 

^Pts. 

Etc.-. 

,'Sorts-. 

Cap! 

-, 

,'Case 

Pts. 

Etc.^ 

, -Sorts-, 

A   10 

14 

9 

X 

4 

A 

8 

10 

10 

X        3 

B      8 

11 

9 

z 

2 

B 

r, 

s 

10 

Z         3 

('       8 

1.3 

ii.v 

ih- 

1 

4 

C 

;, 

,s 

hvi 

)h- 

1         4 

P       S 

12 

0 

7 

4 

D 

5 

8 

•S 

2         4 

E    14 

11; 

thin 

:; 

4 

E 

8 

10 

Ihin 

4 

F      8 

P! 

sp 

p; 

4 

1 

P 

5 

s 

sp 

10 

4         4 

G       8 

1  1 

hg 

.', 

4 

G 

5 

s 

fig 

4 

H      8 

12 

sp 

p; 

G 

4 

H 

G 

8 

sp 

10 

G         4 

I     12 

14 

7 

4 

I 

8 

10 

7        4 

J       8 

,s 

,S 

4 

J 

4 

") 

8        4 

K      6 

.s 

9 

4 

K 

4 

r 

9        4 

L    10 

13 

0 

G 

L 

6 

8 

0        7 

M      8 

12 

* 

4 

M 

6 

8 

$        3 

N    12 

14 

c<- 

2 

N 

6 

10 

.>i        3 

G    12 

14 

:! 

0 

1; 

10 

;            7 

P      8 

11 

0 

P 

.') 

8 

;         3 

Q      « 

,S 

(|U<) 

(■• 

Q 

4 

.''i 

quote' 

R    12 

14 

.^ 

P. 

ti 

10 

1 

S     12 

14 

apo 

s  ■ 

s 

(i 

10 

apos  ■ 

T    12 

P      s 

14 
111 

? 

8 
3 

T 
P 

G 
G 

10 
8 

4 
!         3 

V      G 

.S 

7 

2 

V 

4 

,", 

7         7 

W      8 

10 

'( 

2 

w 

.'•, 

G 

(        2 

X       - 

G 

) 

7 

X 

- 

4 

)         2 

Y      G 

8 

dsh 

.3 

Y 

4 

r, 

d.sh   3 

Z       - 

G 

Z 

- 

5 

1190a 


MATRIX    FONT    SCHEMES 


DISPLAY   FACES 


19.  55-Channel  Split  Magazirr  Cap  Font, 
338  Matrices 

Caps-^     ,-Pts.,  Etc.A     rSorts■^ 


49.  Wide  72-Channel  Split  Magazine, 
630  Matrices 


A   10 

10 

;       4 

B    10 

10 

:         4 

C    10 

hyph- 

quote' 

D   10 

10 

4 

E   10 

thin 

apos  ' 

F      7 

sp   10 

4 

G      7 

fig 

!        4 

H      7 

sp   10 

?        3 

I     10 

(        3 

J       5 

Sorts 

)        3 

K      5 

X       4 

dsh  3 

L   10 

Z        4 

M      7 

1         5 

N    10 

2        5 

O    10 

3        5 

P      5 

4        5 

Q      5 

5        5 

R   10 

6        5 

S    10 

7        5 

T    10 

8        5 

U      5 

9        5 

V     5 

0        5 

W     7 

$        4 

Y      5 

&       4 

Lower 

Fi 

3S., 

Caps—, 

^Case^  ^Pts. 

Etc.^ 

^Sorts^ 

A 

8 

12 

1 

10 

&       3 

B 

fi 

8 

2 

10 

;         3 

C 

7 

8 

3 

10 

quote' 

1) 

7 

8 

4 

10 

4 

E 

10 

24 

5 

10 

!         3 

F 

fi 

8 

fi 

10 

?        3 

Ct 

fi 

S 

7 

10 

(        3 

H 

7 

10 

8 

10 

)        3 

I 

8 

12 

9 

10 

dsh   3 

J 

5 

5 

0 

12 

K 

5 

fi 

$ 

8 

I. 

7 

10 

12 

M 

7 

9 

12 

N 

8 

10 

6 

O 

8 

12 

apos  ' 

P 

fi 

8 

fi 

Q 

5 

5 

hyph- 

K 

7 

10 

10 

S 

8 

12 

thin 

sp 

T 

8 

12 

.083  12 

U 

6 

10 

thin 

sp 

V 

4 

5 

0277  12 

w 

5 

6 

fiK 

X 

4 

5 

sp 

12 

V 

5 

6 

em 

sp 

z 

4 

5 

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• 

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TWO-LETTER   OR    DISPLAY   FACES 


23.  Auxiliary  Magazine,  289  Matrices 


23.   Two  Auxiliary  Magazines,  490  Matrices 


Caps-^    ,-Figs.,Etc.^    rSorts^ 


A 

S 

1 

fi 

Q       3 

B 

7 

2 

fi 

X       3 

C 

7 

3 

fi 

Z        3 

D 

7 

4 

fi 

$        3 

E 

9 

5 

6 

&       3 

F 

8 

fi 

fi 

6 

ii 

i 

7 

fi 

G 

H 

7 

8 

G 

3 

: 

8 

9 

fi 

:         3 

J 

( 

0 

8 

quote' 

K 

5 

em 

2 

L, 

8 

sp 

10 

apos  ' 

M 

t 

2 

N 

9 

!        2 

O 

8 

?        2 

P 

6 

(        2 

K 

8 

)        2 

S 

8 

hyph- 

T 

8 

4 

11 

r, 

d.sh   4 

V 

4 

w 

I 

Y 

6 

Lower 

Figs., 

Cap; 

— ^ 

rCase-^ 

-Pts., 

Etc.-, 

,-Sorts■^ 

A 

8 

10 

1 

fi 

&        3 

B 

6 

8 

9 

B 

:         3 

C 

fi 

8 

3 

fi 

quote' 

D 

fi 

8 

4 

6 

4 

E 

8 

10 

r. 

fi 

apos  ' 

F 

fi 

8 

fi 

R 

4 

(i 

fi 

8 

i 

fi 

!         3 

H 

fi 

8 

8 

fi 

?         3 

I 

8 

10 

9 

fi 

(         3 

.1 

5 

8 

0 

8 

)         3 

K 

.5 

6 

$ 

fi 

hvph- 

1, 

fi 

8 

fi 

4 

M 

fi 

8 

, 

fi 

dsh  4 

N 

fi 

8 

■ 

6 

O 

6 

10 

ftp 

1' 

r 

8 

sp 

8 

y 

4 

,5 

erii 

K 

« 

s 

sp 

8 

S 

fi 

8 

T 

8 

10 

U 

fi 

8 

V 

4 

5 

w 

5 

6 

X 

4 

6 

Y 

5 

7 

z 

4 

6 

i 


21.  Job  Font,  167  Matrices  Cap  Font 


21  A.  Jot  font,  30/  Matrices 


Caps- 

A 

B 

C 

D 

E 

F 

G 

H 

I 

J 

K 

L, 

M 

N 

O 

P 

Q 

R 

S 

T 

U 

V 

w 

X 

Y 
Z 


Figs., 
r-Pts.,Etc.- 

1  4 

2  4 

3  4 
4 
4 
4 
4 
4 
4 
4 


4 

3 

;         2 

:         2 

quote' 


4 
!  2 
?  2 
(  2 
)  2 
hyph- 

2 


Roman  with  Bold  Face  or  Italic 
Caps^LowerCase^Figs.,  Pts.,  Etc- 


Roman  with  Italic  and  Small  Caps 
Caps— Lower  Case,— Figs.,  Pts.,  Etc.—, 


A 

5 

7 

1 

4 

fi 

2 

A 

4 

7 

1 

4 

fi 

2 

B 

3 

4 

2 

4 

fl 

2 

B 

3 

4 

2 

4 

fl 

2 

C 

4 

5 

3 

ff 

2 

C 

3 

4 

3 

4 

ff 

2 

D 

3 

.5 

4 

ffl 

2 

D 

3 

5 

4 

4 

ffl 

2 

E 

7 

9 

5 

ffl 

2 

E 

6 

9 

5 

4 

ffl 

2 

F 

3 

4 

6 

F 

3 

4 

6 

4 

86 

2 

G 

3 

4 

7 

G 

3 

4 

7 

4 

oe 

2 

H 

4 

6 

8 

H 

4 

C 

8 

4 

1 

2 

I 

5 

7 

9 

4 

I 

4 

7 

9 

4 

* 

2 

J 

3 

3 

0 

4 

J 

3 

3 

0 

4 

en 

K 

3 

3 

$ 

2 

K 

3 

3 

$ 

2 

Idr 

2 

L 

4 

fi 

& 

2 

L 

4 

5 

& 

2 

X 

2 

M 

4 

5 

4 

M 

4 

5 

3 

z 

2 

N 

4 

6 

3 

N 

4 

6 

3 

O 

5 

7 

2 

O 

5 

7 

2 

P 

3 

4 

2 

P 

3 

3 

2 

Q 

2 

2 

quo 

e' 

Q 

2 

2 

quote' 

R 

5 

6 

4 

R 

4 

6 

3 

S 

5 

6 

apos  ' 

S 

4 

6 

apos  ' 

T 

5 

6 

4 

T 

4 

6 

3 

U 

3 

5 

1 

2 

U 

3 

5 

! 

2 

V 

2 

3 

■? 

2 

V 

2 

3 

9 

2 

w 

3 

4 

( 

2 

w 

3 

3 

( 

2 

X 

2 

2 

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2 

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2 

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) 

2 

Y 

2 

3 

hyph- 

Y 

2 

3 

hv 

ph- 

z 

2 

2 

2 

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2 

2 

2 

n90b 


MATRIX    FONT    SCHEMES 


LINING   GOTHIC    FACES 

7.   Three  Font  Combination  (Keyboard  Diagram  No.  98)  90-Channel  Split  Magazine,  1469  Matrices 


Caps-, 

rPls. 

Etc. 

^     ^Sorts^ 

A    12 

Ill 

:         0 

B    12 

, 

10 

quote' 

r    12 

hair 

T) 

I)    111 

line  c 

.sh 

alios  ' 

K    12 

.10  0 

12 

fi 

F    12 

em 

?, 

(J    12 

sp 

12 

3 

H    10 

!         4 

I     12 

Sorts 

?         4 

J     12 

X 

S 

(         4 

K      S 

z 

0 

)         4 

L    12 

1 

S 

hvpli- 

M    12 

9 

s 

0 

N    12 

:< 

s 

.*;    2 

O    12 

4 

s 

CE      2 

P    10 

5 

s 

en 

Q      S 

0 

S! 

dsh   5 

Fi    12 

7 

s 

em 

S     12 

S 

■s 

dsh   5 

T    12 

!l 

s 

hair 

i;    111 

0 

s 

line  dsh 

V     s 

* 

s 

.0415  8 

W    10 

& 

:, 

Caps-^ 

rPts.,Etc.-, 

^Sorts-^ 

A    12 

10 

.^i       :> 

K    12 

,        10 

'.         0 

C    12 

h.vi.h- 

:        0 

I)    10 

i; 

qiiolc' 

JO    12 

ha  i  r 

,", 

K    12 

line  dsh 

apos  ' 

(;    12 

.100  12 

r, 

H    10 

thin 

3 

I     12 

.sp   12 

3 

J     12 

fig 

!         4 

K      8 

sp    12 

?        4 

L    12 

em 

(        4 

M   12 

sp  12 

)         4 

N    12 

.^      2 

()    12 

Sorts 

OE      2 

P    10 

1        .S 

en 

Q      S 

2         8 

d.sh   8 

R    12 

3         8 

em 

S     12 

4         S 

dsh   fi 

T    12 

.5         8 

hair 

U    10 

6         S 

hne  dsh 

V     s 

7         8 

.0415  9 

W   10 

S         S 

X      8 

9         8 

Y      8 

0        8 

Z       0 

$         8 

Caps-^ 

rPts 

,Etc.-, 

rSorts-, 

A 

12 

10 

.'i 

H 

12 

, 

10 

!         4 

(  ' 

12 

hail- 

I 

1) 

10 

line 

dsh 

1          1 

u> 

I'! 

12 

.101 

;  10 

)          1 

U 

K 

12 

In  ]ih- 

i 

fi 

12 

Sorts 

('» 

•; 

H 

10 

1 

•S 

/!•:    2 

o 

1 

12 

*; 

8 

CE      2 

r^ 
^ 

,) 

12 

ii 

8 

en 

K 

8 

4 

S 

d.sh   4 

Jli 

1. 

12 

5 

8 

em 

c 

M 

12 

fi 

S 

dsh    n 

™  'l 

N 

12 

I 

8 

hair 

o 

() 

12 

8 

8 

iiie  dsh 

S 

P 

10 

9 

8 

.04 ir.  8 

o 

Q 

8 

0 

S 

1- 

It 

12 

$ 

8 

S 

s 

12 

* 

r. 

_i 
1 

T 

12 
10 

fi 
fi 

u 

V 

8 

qu 

ole' 

w 

10 

:) 

X 

X 

apos  ' 

V 

8 

.fj 

z 

fi 

" 

3 

8.   Two  Font  Combination  (Keyboard  Diagram  No.  138) 
90-Channel  Split  Magazine,  979  Matrices 


r  Caps^, 

-F 

qs., 

=ts.,  Etc.-, 

A 

12 

1 

,8 

hair 

R 

12 

2 

8 

line  dsh 

(" 

12 

3 

8 

.16fi  12 

n 

10 

4 

8 

thin 

E 

12 

^1 

8 

sp   12 

F 

12 

fi 

S 

fig 

?i 

G 

12 

7 

8 

sp    12 

'Z 

H 

10 

8 

8 

em 

rt 

T 

12 

n 

8 

sp    12 

^ 

.T 

12 

0 

8 

K 

8 

$ 

,S 

Sorts 

m 

1. 

12 

K- 

.', 

X       8 

o"  \ 

M 

12 

10 

Z        fi 

N 

12 

, 

10 

M      2 

() 

12 

K 

CE      2 

"o> 

T' 

10 

fi 

3 

q: 

Q 

8 

quote' 

3 

1 

H 

12 

.", 

!         4 

< 

S 

12 

apos  ' 

?         4 

T 

12 

'j 

(         4 

U 

10 

hv, 

ih- 

)         4 

V 

8 

i; 

en 

w 

10 

hair 

dsh   5 

V 

8 

line  dsh 

em 

.041 

.'■.  8 

dsh   5 

F 

gs., 

Caps-^ 

rPtS 

,ttc.-, 

rSorts-^ 

A   12 

1 

s 

fi 

B    12 

2 

s 

:         fi 

C    12 

3 

8 

quote' 

D    10 

4 

8 

D 

E    12 

.", 

8 

apos  ' 

F    12 

fi 

8 

0 

G    12 

i 

8 

3 

H    10 

8 

8 

3 

I     12 

9 

8 

!         4 

J     12 

0 

8 

?         4 

K      8 

$ 

8 

(        4 

I.    12 

.<• 

.5 

)        4 

M    12 

10 

.^      2 

N    12 

10 

CE      2 

O    12 

hv 

ph- 

en 

1'    10 

fi 

dsh   4 

Q      8 

hair 

em 

R    12 

line 

dsh 

dsh   .5 

S     12 

.Ifii 

,  1(1 

hair 

T    12 

ine  dsh 

U    10 

.0415  8 

V       8 

W    10 

X      8 

Y      8 

Z       6 

6.  Single  Font,  509  Matrices 
90-Channel  Split  Magazine 


Caps- 

_F 

95-, 

=ts.,  Elc.^ 

A    12 

1 

S 

h>ph- 

B      9 

2 

8 

12 

C      9 

3 

8 

M     2 

D      9 

4 

8 

CE      2 

E    12 

5 

8 

en 

F      9 

fi 

8 

dsh   8 

G      9 

7 

8 

em 

H      9 

8 

8 

d.sh   8 

I     12 

9 

8 

hair 

J       9 

0 

10 

line  dsh 

K      7 

$ 

8 

.0415  8 

L   11 

& 

,', 

hair 

M   11 

12 

line  dsh 

N    12 

12 

.Ififi  12 

O    12 

S 

thin 

P      8 

8 

sp   12 

Q      fi 

quote' 

fig 

R    12 

fi 

sp   12 

S     12 

apos  ' 

em 

T    12 

fi 

sp   12 

V    10 

" 

3 

V      8 

" 

3 

W       8 

1 

5 

X      fi 

■' 

5 

Y      8 

( 

fi 

Z       4 

) 

C 

COMBINATION    FONTS— Two-Leffer  or  Display  Faces 


59.  90-Channel  Split  Magazine, 
360  Matrices 


52.  90-Channel  Split  Magazine, 
390  Matrices 


53.  90-Channel  Split  Magazine, 
660  Matrices 


Caps-, 

,-Pts.,Etc.^ 

rSo 

rts^ 

A   12 

10 

1 

r, 

B   10 

,       10 

9 

5 

C   10 

;        fi 

3 

5 

D    10 

:         3 

4 

5 

E   12 

quote' 

.■"i 

5 

F    10 

4 

fi 

5 

G    10 

alios  ' 

7 

5 

H    10 

4 

8 

5 

I       S 

!         3 

9 

S 

J     1(1 

?         3 

0 

8 

K      8 

(         3 

$ 

3 

L    10 

)         '■', 

.Vi 

4 

IVI    10 

hvph- 

N    12 

10 

(  1        8 

dsh   5 

P      8 

Q      fi 

R    12 

S     12 

T    12 

IT      fi 

V      t] 

W      B 

X      5 

Y      8 

Z       5 

Caps-, 

,'PtS. 

Etc.^ 

^Sorts 

■-> 

A 

12 

10 

1         5 

R 

10 

10 

o 

=, 

C 

10 

hyph- 

3 

1) 

10 

10 

4 

^ 

E 

12 

fhin 

", 

J 

F 

10 

sp 

10 

fi 

5 

G 

10 

fig 

7 

5 

dj  r^ 

H 

10 

sp 

10 

8 

^ 

1 

8 

em 

;» 

> 

^  o 

.T 

10 

SJ) 

10 

0 

S 

K 

I; 

8 
10 

$        3 
&       4 

M 

10 

:         6 

N 

12 

:         3 

|z 

O 

8 

quote' 

P 

8 

4 

.-  nj 

Q 

fi 

apos  ' 

Q-  m 

R 

12 

4 

OQ 

S 

12 

!        3 

T 

12 

?        3 

T^ 

C, 

(        3 

V 

fi 

)        3 

\V 

n 

dsh   5 

X 

5 

Y 

8 

I  z 

5 

Lower 

Caps^ 

-Case^, 

-Pts. 

Etc.-^ 

rSortS-^ 

A   10 

12 

12 

1 

B       8 

12 

12 

2         ."i 

C      8 

1 2 

fi 

3         5 

D      8 

12 

hyph- 

4       r, 

E    10 

12 

12 

5         5 

F      8 

12 

ti 

fi 

fi         5 

c;     8 

1  2 

fl 

9 

7 

H      8 

10 

ff 

fi 

8          '< 

I        (! 

1  2 

ffi 

2 

9         5 

J       8 

10 

ffl 

2 

0         8 

K      C, 

8 

dsh   4 

$         3 

L      8 

1  2 

thin 

&        3 

M      8 

1  2 

sp 

12 

:         2 

N    1(1 

1  2 

fig 

quote' 

O       8 

1  2 

Sl-l 

12 

4 

P      8 

1  0 

em 

apos  ' 

Q     :, 

8 

sp 

12 

4 

R      8 

12 

!         2 

S     10 

12 

•?         ■) 

T    10 

12 

(         3 

u    e, 

12 

)      s 

X      G 

8 

W      8 

8 

X      5 

8 

Y      8 

10 

Z       5 

8 

1191 


MATRIX    FONT    SCHEMES 


COMBINATION    FONTS 


Roman  with  Italic  and  Small  Cap  Faces 

54.  90-Channel  Split  Mayazine, 

770  Matrices 


24. 


Display  Faces 
90-Channel  Split  and  Auxiliary  Magazine, 
570  Matrices 


Caps— .LowerCase, Pis.,  Etc.  - 


-Sorts 


Caps- 


Lower 
rCase-,, 


Figs.,  Etc.-^    ,.Sorts^ 


A 

12 

12 

12 

fig 

X 

2 

Roman 

A 

8 

12 

1 

fi 

Q       3 

B 

s 

12 

,       12 

sp   12 

z 

2 

w. 

5.C. 

B 

7 

10 

2 

fi 

X       3 

C 

s 

12 

;        0 

em 

& 

2 

1 

:; 

C 

7 

10 

3 

« 

Z        3 

D 

is 

12 

:        5 

.sp  12 

2 

3 

S 

D 

7 

10 

4 

t; 

$        3 

-o 

K 

12 

12 

quote' 

en 

Roman 

:; 

3 

= 

E 

9 

12 

5 

fi 

&       3 

=  -J 

F 

S 

12 

4 

Idr    4 

w. 

Ital. 

4 

3 

[^ 

P 

8 

10 

6 

fi 

12 

G 

s 

12 

apos  ' 

1 

r 

r> 

3 

T3 

G 

7 

10 

7 

fi 

,       12 

m  S 

H 

8 

12 

4 

2 

5 

6 

3 

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7 

10 

S 

6 

;        4 

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12 

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3 

5 

7 

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S 

12 

9 

6 

:         3 

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J 

10 

12 

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4 

5 

8 

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J 

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10 

0 

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6 

10 

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5 

5 

9 

3 

o 

K 

5 

8 

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4 

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L 

10 

12 

)        4 

6 

r. 

0 

3 

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L 

8 

12 

sp 

10 

apos  ' 

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M 

10 

12 

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7 

5 

$ 

2 

c 

M 

7 

10 

4 

ra  'S  '^ 

N 

10 

12 

12 

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2 

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9 

12 

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8 

12 

fi        fi 

9 

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2 

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8 

12 

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P 

8 

12 

fl        3 

0 

S 

( 

2 

a.  ra 

P 

6 

8 

(         2 

Q 

fi 

10 

ff        6 

$ 

4 

) 

2 

o  m 

Q 

- 

B 

)        2 

R 

10 

12 

ffi       3 

& 

3 

Z 

2 

c  S 

R 

8 

12 

hyph  - 

S 

10 

12 

ffl       3 

n 

2 

SI  ^ 

S 

8 

12 

fi 

^    t    O) 

T 

10 

12 

re       3 

ffi 

2 

o  — 

T 

8 

12 

dsh   4 

isl 

U 

6 

12 

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ffl 

2 

U 

5 

10 

fi        2 

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V 

5 

10 

em 

te 

2 

3< 

V 

4 

7 

fl        2 

w 

fi 

10 

dsh   S 

oe 

2 

2.E 

w 

7 

7 

ff        2 

X 

r. 

6 

*        4 

X 

- 

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ffl       2 

Y 

7 

12 

thin 

V 

fi 

7 

ffl       2 

Z 

■' 

C 

-sp   12 

z 

- 

6 

Display 

55.  90-Channel  Split  and  Auxiliary  Magazine, 
667  Matrices 


Faces 

56.  90-Channel  Split  and  Auxiliary  Magazine, 
600  Matrices 


Caps— ^LowerCase,— Figs.,  Pts.,  Etc.- 


A 

8 

12 

1 

6 

fl        5 

B 

7 

10 

o 

fi 

ff        5 

C 

7 

10 

3 

6 

ffi       .5 

D 

7 

10 

4 

fi 

ffl       5 

K 

9 

12 

a 

6 

1          8 

F 

8 

10 

6 

6 

d.sh  8 

G 

( 

10 

( 

6 

thin 

H 

7 

10 

8 

6 

sp   12 

1 

8 

12 

9 

6 

fig 

J 

i 

10 

0 

8 

sp   12 

K 

5 

8 

& 

3 

em 

L 

8 

10 

10 

sp   12 

M 

7 

10 

, 

10 

em  sp 

N 

9 

12 

; 

fi  ( 

aux) 10 

() 

8 

12 

5 

en 

P 

t; 

8 

quote' 

Idr    8 

y 

- 

6 

8 

R 

8 

12 

apos  ' 

Sorts 

S 

8 

12 

8 

Q       3 

T 

>S 

12 

T 

fi 

X      3 

n 

,r, 

10 

■7 

5 

Z        3 

V 

4 

7 

( 

$        4 

w 

7 

7 

) 

-} 

X 

- 

fi 

h\ 

ph- 

\' 

fi 

7 

12 

z 

- 

fi 

fi 

5 

'2   nJ 


J,< 


Lower 

Figs., 

Cap: 

^ 

rCase-x 

rPts. 

,Etc. 

^     rSorls^ 

A 

8 

12 

1 

fi 

Q 

3 

B 

7 

10 

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57.  72-Channel  Split  and  Auxiliary  Magazine, 
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58.  72-Channel  Split  and  Auxiliary  Magazine, 
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1192 


A  SIMPLE,  ACCURATE  METHOD  OF 

COPY-riTTING 


LINOTYPE 


Most  methods  of  copy-fitting  rely  on  an  average  number  of 
words  to  the  sguare  inch,  but  variations  in  the  character  of  copy 
and  in  the  set  width  of  different  faces  combine  to  make  any  such 
method  inaccurate  and  deceptive.  The  most  accurate  system  is 
one  based  on  character  count.  With  the  help  of  convenient  tables 
on  following  pages,  this  method  will  be  found  both  easy  and  rapid. 


Number  of  Manuscript  Characters— 
Typewriters  are  so  designed  that  each 
character  receives  the  same  space 
horizontally.  Multiply  the  average  num- 
ber of  the  characters  per  line  by  the 
number  of  lines. 

Example:  A  manuscript  has  an  average  of 
64  characters  to  the  line,  25  lines  to  the  page, 
10  pages:  64  X  25  =  1600  y  10  =  16,000 
characters. 

The  short  Hnes  at  the  end  of  paragraphs 
can  be  counted  as  full  lines  because  there 
■will  be  similar  short  lines  when  it  is  set  in 
type.  Exception:  If  there  is  a  large  differ- 
ence between  the  width  of  manuscript  and 
width  of  type,  say  the  manuscript  averages 
70  characters  to  the  line  and  the  type  30,  this 
will  not  average  out  and  some  allowance 
should  be  made. 

To  Find  Number  of  Lines  of  Type— 
Select  your  type-face,  size  and  length 
of  line.  Find  its  alphabet  length  and 
then  refer  to  the  Characters  By  Picas 
table  on  the  following  pages  for  the 
average  number  of  characters  to  the 
line.  Spaces  between  words  and  punc- 
tuation points  count  as  characters.  Di- 
vide this  into  number  of  characters  in 
manuscript. 

Example:  We  will  set  the  manuscript  ot  the 
previous  example  in  10  point  Garamond  with 
Italic,  18  picas  wide.  Retening  to  the  tables 


we  see  that  this  will  average  fifty  characters 
to  the  line.  16,000^50^320  lines. 

If  Matter  Is  Leaded— Leading  does 
not  affect  the  number  of  lines  but  it 
does  affect  the  depth  in  picas.  Be  sure 
to  use  body  size  instead  of  face  size. 

Example:  If  manuscript  is  to  be  set  in  10 
point  2  point  leaded  it  is  on  12  point  body. 

Spacing— The  tables  are  all  based  on 
close  spacing,  which  is  always  to  be 
recommended  not  only  for  economy  of 
space  but  for  appearance.  Caution  the 
operator  to  fill  his  lines  and  to  use  extra 
thin  spacebands  for  small  sizes. 
Length  of  Line— The  ideal  length  of 
line  is  about  40  characters  in  any  size. 
Lines  of  less  than  30  or  more  than  50 
characters  should  be  avoided. 

Example:  The  ideal  measure  for  10  point 
Garamond  Bold  would  be  16  picas.  It  should 
seldom  be  set  narrower  than  12  picas  noi 
wider  than  20  picas. 

Typing  to  Fit— It  type-face,  size  and 
measure  are  determined  in  advance, 
the  copy  can  be  sent  to  the  printer 
typed  with  the  proper  number  of  char- 
acters to  the  line  so  that  the  proof  will 
run  practically  line  for  line  with  it. 

Example:  Type  is  to  be  set  in  12  point  Bodoni 
20  picas  wide.  Typist  should  set  typewriter 
for  47  character  average  line. 


bET    IN   MlMBtRS  Of    THE  LINOTYPE    Mt  ^ 


IONIC  NO.  5 


Lower  Case  ALPHABET  LENGTHS 

To  DETERMINE  the  character  count  of  the  Linotype  faces  listed  below  (or  any  other  face),  find  the  alphabet 
length  in  points  of  the  size  you  are  interested  in.  Then  refer  to  the  Chaiacteis  By  Picas  tabulation  on  fol- 
lowing pages,  where  characters  for  measures  from  1  to  42  are  listed  according  to  different  alphabet  lengths. 
For  computing  faces  not  listed,  you  need  only  know  the  alphabet  length  of  the  point  size  desired.  Then,  by 
consulting  the  Characters  By  Picas  table  on  the  following  pages  and  taking  the  nearest  alphabet  length  listed 
(the  next  longest  if  the  exact  length  is  not  listed)  you  will  have  the  figures  for  the  measure-lengths  needed. 


FACE 


5    5V2    6    6V2     7    71/2     8      9     10    11    12    14    18   24    30    36 


Antique  No.  1  w.  Italic 

Antique  No.  1    

Antique  No.  1  Italic    . . 


97 


122    132    141 


165    190 


229    305 
229    ... 


*Baskerville  w.  Italic  &  S.  C 

Bell  Gothic   

Benedictine  w.  Italic  &  S.  C 

Benedictine    

Benedictine  Italic 

Benedictine  Book  w.  Italic  &  S.  C. 

Benedictine  Book   

Benedictine  Book  Italic    

Benedictine  Book  w.  Benedictine 

Benedictine  Bold  w.  Italic    

Benedictine  Bold    

Benedictine  Bold  Italic  

Bodoni  w.  Italic  &  S.  C 

*Bodoni   

Bodoni  Italic    

Bodoni  Condensed   

Bodoni  Bold  w.  Italic  

*Bodoni  Bold   

*Bodoni  Bold  Italic    

*Bodoni  Bold  Condensed    

Bodoni  Book  w.  Italic  &  S.  C.    ... 

Bodoni  Book     

Bodoni  Book  Italic  

Bookman  w.  Italic  &  S.  C 


75 
84 


95  ...  106  116  129  139  149  170  

88  ...   98  

95  ...  109  120  135  148  161  184  223  

224  296  349  417 

223  293  362  ... 

84  ...   95  ...  109  120  135  148  161  184  

224  296  349  417 

223  293  362  ... 

84  .  . .   95  ...  109  120  135  148  161  184  

117  ...  147  ...  177  206  

246  325  389  468 

251  329  404  ... 

82  ...   96  ...  109  ...  132  ...  145  163  208  272  

208  267  317  385 

207  267  328  ... 

233  288  ... 

92  ...  102  ...  118  ...  140  ...  158  175  227  278  

223  282  318  403 

224  276  353  ... 

178  226  274  321 

81  ...   92  ...  103  114  122  ...  137  152  191  

187  233  298  ... 

190  245  296  ... 

93  ...  101  ...  110  119  132  144  156  186  


1 


' 


Caslon  w.  Italic  &  S.  C 

Caslon    

Caslon  Italic  

Caslon  Bold  w.  Italic    

Caslon  Bold  Condensed    

Caslon  No.  2  w.  Italic  &  S.  C 

Caslon  No.  3  w.  Italic  &  S.  C 

Caslon  No.  3    

Caslon  No.  3  Italic    

Caslon  No.  137  w.  Italic  &  S.  C 

♦Caslon  Old  Face  w.  Italic  &  S.  C.   . . . 

*Caslon  Old  Face    

*Caslon  Old  Face  Italic     

Century  Bold  w.  Italic  

Century  Bold   

Century  Bold  Italic    

Century  Bold  Condensed   

♦Century  Expanded  w.  Italic  &  S.  C. 

Century  Expanded  

♦Century  Expanded  w.  Centmry  Bold 


94 


411 


90  ...  100 


108  114  121  141  157  181  225  

237  309  382  ... 

169  203  250  306  390 


83  102  ...  127  139  151  

76  .  . .   89  . . .   99  ...  108  124  139  .. .  165  193  270  349  

269  347  421  ... 

271  350  411  ... 

90  ...  103  116  129  141  155  

77  93  106  111  122  141  159  

185  262  332  428 

175  235  

116  ...  145  ...  168  200  228  305  

222  305  366  423 

252  305  381  466 

176  223  

95  ...  107  ...  119  128  142  149  162  194  228 

229  300  

95  ...  110  ...  119  133  142  152  164  194  227  


FACE 


5   51/2    6   6V2    7   7V2    8      9     10    11    12    14    18   24    30   36 


ALPHABET  LENGTHS,  continued 


FACE 5    SVz    6    6V2     7    IVi    8      9     10    11    12    14  18    24    30    36 

Century  Exp.  w.  Century  Bold  Italic 147    ...    170    202  

Century  Exp.  w.  Cheltenham  Bold 99    121    ...    150    ...    164    197  

Cheltenham  w.  Italic  &  S.  C 95    107    115    126    135    159  197    246    

♦Cheltenham 240    288    345 

♦Cheltenham  Italic    249    300    ... 

Cheltenham  Bold  w.  Italic 100    120    ...    150    151    164    197  231    299    

Cheltenham  Bold 229    297    316    430 

Cheltenham  Bold  No.  2 357    ... 

Cheltenham  Bold  Italic    244 

Cheltenham  Bold  Cond.  w.  Italic     77    95    ...    177    ...    133    156  195 

Cheltenham  Bold  Condensed 189    235    285    348 

Cheltenham  Bold  Condensed  Italic 195 

Cheltenham  Bold  Extra  Condensed 154    192    226    232 

Cheltenham  Bold  Extra  Cond.  Italic 

Cheltenham  Condensed 172 

Chelt.  Cond.  w.  Chelt  Bold  Cond 95    ...    117    ...    133    156  

Cheltenham  Extra  Cond.  Italic 173    227    283 

Cheltenham  Medium  Condensed    176   229   272 

Cheltenham  Wide  w.  Chelt.  Bold 101    115    ...    135    ...    153    189  

Cloister  w.  Italic  &  S.  C 80    96    ...    110    116    124    139  178    

Cloister    177 

Cloister  Italic 165 

Cloister  Bold  w.  Italic    90    109    ...    126    ...    138    157  201 

Cloister  Bold 198 

Cloister  Bold  Italic 190 

Cloister  Wide  w.  Bold    90    109    ...    126    ...    138    157  ... 


299 

378 

236 

235 

285 

253 

302 

192 

226 

229 

219 

264 

233 

281 

335 

218 

257 

256 

255 

313 

379 

243 

301 

349 

DeVinne  w.  Italic  &  S.  C 

93  ...  . 

.  ...  109  117  131  149  163  189  

DeVinne  w.  Antique  No.  3  

98  ...  . 

.  ...  115  120  136  150  165  192  

Electra  w.  Italic  &  S.  C 93    ...    104    117    125    135    142    160    

Elzevir  No.  3  w.  Italic  &  S.  C 86    Ill    120    128    140    153    176    

Elzevir  No.  3 222    296 

*Erbar  Bold  Condensed    162   202 

*Erbar  Light  Condensed 153    189 

Erbar  Light  Cond.  w.  Erbar  B.  Cond 82    ...      96    ...    104    123    162    200 

*Erbar  Medium  Condensed 156    192 

Erbar  Med.  Cond.  w.  Erbar  Lt.  Cond 154    191 

Estienne  w.  Italic  &  S.  C 99    ...    113    ...    126    143    

*Estienne 168    ... 

♦Excelsior  w.  Bold  Face  No.  2    95    100    107    123    ...    133    142    151    158    171    

No.  1  Excelsior  w.  B.  F.  No.  2    118    ...    126    

No.  2  Excelsior  w.  B.  F.  No.  2    115    ...    123    

Excelsior  w.  Italic  &  S.  C 100    107    123    ...    133    142    151    ...    171    

No.  1  Excelsior  w.  Italic  &  S.  C 118    ...    126    

No.  2  Excelsior  w.  Italic  &  S.  C 115    ...    123    

Excelsior  w.  Gothic  No.  3    95    100    103    

No.  1  Excelsior  w.  Gothic  No.  3 118    

No.  2  Excelsior  w.  Gothic  No.  3 115    ...    123    

Excelsior  w.  Memphis  Bold    107    ...    118    123    126    133    143    ...    158    171    


Franklin  Gothic    277    340    

Garamond  w.  Italic  &  S.  C 80    97    109    121    135    149    166  

Garamond    194    284    322    424 

Garamond  Italic 195    282    320    ... 

Garamond  Bold  w.  Italic    89    108    ...    135    ...    169    187  220    311     

FACE  5    5V2    6    6V2     7    7V2    8      9     10    11    12    14  18    24    30    36 


1195 


ALPHABET  LENGTHS,  continued 


FACE 


5    5V2    6   6V2    7   71/2    8      9     10    11    12    14    18   24    30   36 


Garamond  Bold    

Garamond  Bold  Italic  

Garamond  No.  3  w.  Italic  &  S.  C.  . . 
Garamond  Bold  No.  3  w.  Italic   . . . . 

Garamond  Bold  No.  3    

Garamond  Bold  No.  3  Italic     

Gothic  No.  13    

Gothic  No.  13  w.  Chelt.  Bold  Cond. 
Gothic  No.  13  w.  DeVinne  Cond.    . . 

Gothic  No.  14    

Gothic  No.  16    

Gothic  No.  16  w.  Cheltenham  Bold 

Gothic  No.  16  w.  Title  No.  4    

Gothic  No.  18    

Gothic  No.  38    

Gothic  Condensed  No.  1    

Gothic  Condensed  No.  2    

Gothic  Condensed  No.  3    

Granjon  w.  Italic  &  S.  C 

*Granjon    

Granjon  Italic  


87  ...   95  ...  103 

94  ...  104  ...  113 


111  118  125  133  150 
123  130  140  148  167 


102 
102 


117 
115 


...  161 

139  161 

140  162 


133 
136 


163 
161 
163 


73 
81 


99 

77 


152 


87 


180  216 

174  209 
180  216 
127  157 

175  222 


219  313  355  470 

219  312  358  ... 

198  

216  279  

214  278  341  ... 

212  

180  224  235  316 

189  233  

124  

234  303  373  424 

231  300  


175  216  

262  323  

122  135  149  166  169  

96  118  140  169  208  228 

205 


98  108  117  126  137  153 


180  262 

177  ... 


Granjon  w.  Bold   

81 

98 

...    117 

126 

137 

153    

•Ionic  No.  5  w.  Bold  Face  No.  2   

*Ionic  No.  5  w.  Italic  &  S.  C 

Ionic  No.  5  w.  Gothic  No.  16  

. .      84 
. ..      84 

94 
94 

94 

104 
104 

110    114    121    127 
110    114    121    127 

139    146 
139    146 

163 
163 

Janson  w.  Italic  &  S.  C 

Ill 

...     131 

139 

148 

165    

Memphis  Bold  w.  Italic  

Memphis  Bold 

Memphis  Bold  Cond 

Memphis  Bold  Cond.  w.  Med.  Cond. 

Memphis  Extra  Bold  w.  Italic  

Memphis  Extra  Bold   

Memphis  Extra  Bold  Cond 

Memphis  Ex.  Bd.  Cd.  w.  Med.  Cd.    . 
Memphis  Light  w.  Italic  &  S.  C.   ... 

Memphis  Light    

Memphis  Light  w.  Bold 

Memphis  Medium  w.  Italic    

Memphis  Medium    

Memphis  Medium  Italic  

Memphis  Medium  w.  Bold   

Memphis  Medium  Cond 

Metroblack  No.  2  w.  Italic    

Metroblack  No.  2  

Metroblack  No.  2  w.  Metrolite  No.  2 

Metrolite  No.  2  w.  Italic    

Metrolite  No.  2  

Metrolite  No.  2  w.  Metroblack  No.  2 

Metromedium  No.  2  w.  Italic  

Metromedium  No.  2  

Metromedium  No.  2  Italic  

Metromed.  No.  2  w.  Metrothin  No.  2 
Metrothin  No.  2  


97 


.  105  121  135 


167 


141  ...  165  ...  201 


197  231 

...  230 

...  180 

...  180 

230  269 

...  264 


97 


104 


134 


.  166 


97 
97 


104 
105 


120  133 

121  135 


166 
167 


97 
95 


104 
110 


134 


95 
94 


108 
108 


137 
136 
136 
135 


167 

164 

163 
160 


...  180 

195  ... 

...  226 

195  232 

197  231 

...  230 

...  231 

197  230 


318  382  473 
...  280  325 
236  ... 


368  415 

...  281  325 

236 


94 
86 


108 
97 


137 
122 


163 
146 


86 


96  ...  120 


145 


191  236 

...  236 

190  236 

187  232 

...  233 

190  236 

169  209 

...  215 

...  209 

168  215 

...  215 


308  360  453 
316 

320  380  473 

318 

...  277  324 

311 

316  395  471 

302 

303 

316  390  466 

375 

278  349  416 

275 

272 

270  339  405 


'Narciss  . . 

...    141    ...    170    184    211    305    353    417 

FACE 

5    51/2    6   6V2    7    71/2    8 

9     10    11    12    14    18   24    30   36 

1196 


ALPHABET  LENGTHS,  continued 


FACE 

5    5V2 

6   6V2 

7 

7V2 

8 

9 

JO 

n 

12 

14 

18 

24 

30 

36 

No.  1,  w.  Italic  &  S.  C 

...      89 

101    ... 

107 

116 

127 

134 

144 

162 

No.  16,  w.  Italic  &  S.  C 

105    .    . 

117 

128 

139 

149 

.   .  . 

175 

204 

No.  21,  w.  Italic  &S.C 

90    .    . 

106 

110 

116 

130 

142 

155 

Old  Style  No.  1  w.  Italic  &  S.  C 

83    .    . 

91    .    . 

101 

109 

118 

127 

135 

150 

178 

Old  Style  No.  1     

195 

Old  Style  No.  1  w.  Antique  No.  1   

92    . 

101 

116 

126 

137 

146 

161 

185 

Old  Style  No.  1  w.  Cheltenham  Bold  . 

83    .    . 

93     . 

114 

137 

156 

190 

Old  Style  No.  1  w.  Title  No.  1   

96    .    . 

112 

132 

154 

Old  Style  No.  1  w.  Title  No.  2  

95    ... 

116 

133 

156 

185 

Old  Style  No.  3  w.  Italic  &  S.  C 

90    .    . 

102 

120 

143 

*01d  Style  No.  7  w.  Italic  &  S.  C 

85    .    . 

95 

104 

112 

122 

135 

146 

171 

Old  Style  No.  7  

220 

298 

Opticon  w.  Bold  Face  No.  2    

...    102 

109    .    . 

119 

125 

130 

134 

144 

153 

160 

Opticon  w.  Italic  &  S.  C 

Original  Old  Style  w.  Italic  &  S.  C.   . . 

109    .    . 

1^0 

T?5 

130 

144 

153 

89    ... 

110 

124 

144 

172 

Pabst  Extra  Bold  w.  Italic    

170 

203 

234 

301 

Pabst  Extra  Bold    

296 

393 

*Pabst  Extra  Bold  Condensed    

220 

287 

329 

392 

Pabst  Extra  Bold  Cond.  w.  Italic    

144 

172 

201 

224 

293 

Paragon  w.  Paragon  Bold 

Paragon  w.  Italic  &  S.  C 

...    101 

108    . 

1^0 

124 

129 

136 

145 

108    ... 

120 

124 

129 

136 

145 

Poster  Bodoni  w.  Italic    

146 

171 

202 

235 

304 

410 

Poster  Bodoni    

300 

409 

502 

612 

Poster  Bodoni  Italic  

301 

•Scotch  w.  Italic  &  S.  C 

97    ... 

110 

125 

134 

155 

186 

Scotch    

235 

307 

376 

Scotch  Italic 

236 

Scotch  No.  2  w.  Italic  &  S.  C 

103 

116 

131 

140 

154 

Textype  w.  Bold  Face  No.  2    

102    ... 

110 

115 

125 

136 

153 

167 

Textype  w.  Italic  &  S.  C 

102    ... 

110 

115 

125 

136 

153 

167 

216 

Vulcan  Bold  w.  Italic  

164 

181 

210 

♦Vulcan  Bold    

272 

361 

Vulcan  Bold  Italic    

272 

361 

ADDITIONAL  POINT  SIZES 

(For  faces  indicated  with  *  on  preceding  listings) 


POINT  ALPHABET 

FACE                                                                                                                SIZE  LENGTH 

Baskerville    16  200 

Bodoni    16  182 

Bodoni    21  236 

Bodoni  Bold    21  251 

Bodoni  Bold    27  293 

Bodoni  Bold  Italic    21  251 

Bodoni  Bd.  Cd.  w.  Bodoni  Bd.  It.   24-18  229 

Caslon  O.  F.  w.  Italic  &  S.  C 11  Va  133 

Caslon  Old  Face   21  229 

Caslon  Old  Face  Italic    21  213 

Century  Expanded  w.  Italic    4  78 

Century  Exp.  w.  Gothic  No.  16 4  78 

Cheltenham    20  195 

Cheltenham  Italic    20  195 

Erbar  Bold  Condensed    28  233 

Erbar  Bold  Condensed    34  283 


POINT  ALPHABET 

FACE                                                                                                                 SIZE  LENGTH 

Erbar  Light  Condensed 28  209 

Erbar  Light  Condensed 34  251 

Erbar  Medium  Condensed   28  212 

Erbar  Medium  Condensed   34  257 

Estienne  16  157 

Excelsior  with  Bold  Face  No.  2 7%  125 

Granjon     21  196 

Ionic  No.  5  w.  Bold  Face  No.  2   6%  107 

Ionic  No.  5  w.  Italic  &  S.  C 6%  107 

Narciss     21  262 

No.  6  with  Gothic  No.  16 4%  76 

Old  Style  No.  7  w.  Italic  &  S.  C 10y2  129 

Pabst  Ex.  Bd.Cd.  W.Gothic  No.  16    18-14  224 

Scotch  No.  2  w.  Italic  &  S.  C 11  ¥2  142 

Vulcan  Bold  21  313 


1197 


CHARACTERS  BY  PICAS 


The  tabulation  below  and  opposite  li^s  characters  by 
picas  up  to  42-pica  measure,  for  the  various  alphabet 
lengths.  In  those  instances  where  the  precise  alphabet 
length  is  not  given,  use  the  nearest  listed  figure  —  always 
selecting  the  next  longest  length;  i.  e.,  for  109  use  110,  for 
234  use  241,  for  288  use  295,  etc.  The  slight  differences 
between  listed  lengths  will  not  disturb  the  accuracy  of  your 
computation  for  all  practical  purposes. 

Setting  Run-Aiounds:  Type  to  be  set  around  cuts  or  in 
irregular  shapes  can  be  accurately  charted  by  the  char- 
acter-count method  of  copy-fitting.  All  that  is  necessary  to 
determine  is  the  number  of  lines  in  each  of  the  different 
measures,  and  then  compute  the  total  number  of  characters 


in  those  lines.  Comparison  of  this  total  with  the  total  char- 
acter-content of  the  copy  tells  the  need  of  more  or  less  copy. 

If  typewritten  copy  is  to  be  computed,  figure  Elite  char- 
acters as  12  to  the  inch  and  Pica  characters  as  10  to  the 
inch.  Multiply  the  number  of  characters  in  each  line  by 
the  number  of  lines  for  the  character  total. 

How  many  characters  are  there  in  measures  less  than 
ten  picas  wide,  in  the  various  faces?  Two  easy  methods  of 
determination:  1,  Multiply  the  number  of  characters  in  one 
em  by  the  measure-length  you  wish;  2,  Take  the  figure  re- 
maining after  subtracting  a  lower  measure  from  a  higher  — 
for  8  picas  wide,  subtract  10  from  18;  for  six  picas  wide, 
subtract  10  from  16,  etc. 


Alphabet  Length 


J   JO  12     14     16     18     20     22     24     26     28     30     32     34     36     38     40     42 


73 

4.35 

44 

52 

61 

70 

78 

87 

75 

4.25 

43 

51 

60 

68 

77 

85 

96     104      113      122      131      139      148 
94     102      111      119      128      136      145 


157      165      174      183 
153     162     170     179 


76 

77 

4.20 
4.15 

42 
42 

50 
50 

59 
58 

67 
66 

76 
75 

84 
83 

92 
91 

101 
100 

109 
108 

118 
116 

126 
125 

134 
133 

143 
141 

151 
149 

160 
158 

168 
166 

176 

174 

79 
80 

4.05 
4. 

41 
40 

49 
48 

57 
56 

65 
64 

73 
72 

81 
80 

89 
88 

97 
96 

105 
104 

113 
112 

122 
120 

130 

128 

138 
136 

146 
144 

154 
152 

162 
160 

170 
168 

81 
82 

3.95 
3.9 

40 
39 

47 
47 

55 

55 

63 
62 

71 
70 

79 
78 

87 
86 

95 
94 

103 
101 

111 
109 

119 

117 

126 
125 

134 
133 

142 
140 

150 
148 

158 
156 

166 
164 

83 
84 

3.85 
3.8 

39 
38 

46 
46 

54 
53 

62 
61 

69 
68 

77 
76 

85 
84 

92 
91 

100 
99 

108 
106 

116 
114 

123 
122 

131 
129 

139 
137 

146 
144 

154 
152 

162 
160 

86 
87 

3.75 
3.7 

38 
37 

45 
44 

53 
52 

60 
59 

68 

67 

75 
74 

83 
81 

90 
89 

98 
96 

105 
104 

113 
112 

120 
118 

128 
126 

135 
133 

143 

141 

150 
148 

158 
155 

88 
90 

3.65 
3.6 

37 
36 

44 
43 

51 
50 

58 
58 

66 
65 

73 
72 

80 

79 

88 
86 

95 
94 

102 
101 

110 
108 

117 
115 

124 
122 

131 
130 

139 
137 

146 
144 

153 
151 

91 
93 

3.55 
3.5 

36 
35 

43 
42 

50 
49 

57 
56 

64 
63 

71 
70 

78 

77 

85 
84 

92 
91 

99 
98 

107 
105 

114 
112 

121 
119 

128 
126 

135 
133 

142 
140 

149 
147 

94 
96 

3.45 
3.4 

35 
34 

41 
41 

48 
48 

55 
54 

62 
61 

69 
68 

76 
75 

83 
82 

90 
88 

97 
95 

104 
102 

110 
109 

117 
116 

124 
122 

131 
129 

138 
136 

145 
143 

98 
100 

3.35 
3.3 

34 
33 

40 
40 

47 
46 

54 
53 

60 
59 

67 
66 

74 
73 

80 
79 

87 
86 

94 
92 

101 
99 

107 
106 

114 
112 

121 
119 

127 
125 

134 
132 

141 
139 

102 
104 

3.25 
3.2 

33 
32 

39 
38 

46  ' 
45 

52 
51 

59 
58 

65 
64 

72 
70 

78 

77 

85 
83 

91 
90 

98 
96 

104 
102 

111 
109 

117 
115 

124 
122 

130 
128 

137 
134 

106 
108 

3.15 
3.1 

32 
31 

38 
37 

44 
43 

50 
50 

57 
56 

63 
62 

69 
68 

76 
74 

82 
81 

88 

87 

95 
93 

101 
99 

107 
105 

113 
112 

120 
118 

126 
124 

132 
130 

110 
112 

3.05 
3. 

31 
30 

37 
36 

43 
42 

49 
48 

55 
54 

61 
60 

67 
66 

73 

72 

79 
78 

85 
84 

92 
90 

98 
96 

104 
102 

110 
108 

116 
114 

122 
120 

128 
126 

114 
116 

2.95 
2.9 

30 
29 

35 
35 

41 
41 

47 
46 

53 
52 

59 
58 

65 
64 

71 
70 

77 
75 

83 
81 

89 
87 

94 
93 

100 
99 

106 
104 

112 
110 

118 
116 

124 
122 

118 

2.85 

29 

34 

40 

46 

51 

57 

63 

68 

74 

80 

86 

91 

97 

103 

108 

114 

120 

120 

2.8 

28 

34 

39 

45 

50 

56 

62 

67 

73 

78 

84 

90 

95 

101 

106 

112 

118 

Alphabet  Length 


1       10     12     14     16     18     20     22     24     26     28     30     32     34     36     38     40     42 


1198 


Alphabet  Length 


CHARACTERS  BY  PICAS,  continued 


1       10     12     14     16     18     20     22     24     26     28     30     32     34     36     38     40     42 


122 

2.75 

28 

33 

39 

44 

50 

55 

61 

66 

72 

77 

83 

88 

94 

99 

105 

110 

116 

124 

2.7 

27 

32 

38 

43 

49 

54 

59 

65 

70 

76 

81 

86 

92 

97 

103 

108 

113 

127 
129 

2.65 
2.6 

27 
26 

32 
31 

37 
36 

42 
42 

48 

47 

53 

52 

58 

57 

64 
62 

69 
68 

74 
73 

80 
78 

85 
83 

90 
88 

95 
94 

101 
99 

106 
104 

111 
109 

132 
135 

2.55 
2.5 

26 
25 

31 

30 

36 
35 

41 
40 

46 

45 

51 
50 

56 
55 

61 
60 

66 
65 

71 
70 

77 
75 

82 
80 

87 
85 

92 
90 

97 
95 

102 
100 

107 
105 

138 
142 

2.45 
2.4 

25 

24 

29 
29 

34 
34 

39 
38 

44 
43 

49 
48 

54 
53 

59 
58 

64 
62 

69 
67 

74 
72 

78 

77 

83 
82 

88 
86 

93 
91 

98 
96 

103 

101 

146 
150 

2.35 
2.3 

24 
23 

28 
28 

33 
32 

38 
37 

42 
41 

47 
46 

52 
51 

56 
55 

61 
60 

66 
64 

71 
69 

75 
74 

80 
78 

85 
83 

89 
87 

94 
92 

99 
97 

154 
158 

2.25 
2.2 

23 
22 

27 
26 

32 
31 

36 
35 

41 
40 

45 
44 

50 
48 

54 
53 

59 

57 

63 
62 

68 
66 

72 
70 

77 
75 

81 
79 

86 
84 

90 
88 

95 
92 

162 
166 

2.15 

2.1 

22 
21 

26 
25 

30 
29 

34 
34 

39 
38 

43 
42 

47 
46 

52 
50 

56 
55 

60 
59 

65 
63 

69 
67 

73 
71 

77 
76 

82 
80 

86 
84 

90 
88 

170 
175- 

2.05 
2. 

21 
20 

25 

24 

29 
28 

33 
32 

37 
36 

41 
40 

45 
44 

49 
48 

53 
52 

57 
56 

62 
60 

66 

64 

70 
68 

74 
72 

78 
76 

82 
80 

86 
84 

180 
185 

1.95 
1.9 

20 
19 

23 
23 

27 
27 

31 
30 

35 
34 

39 
38 

43 
42 

47 
46 

51 
49 

55 
53 

59 

57 

62 
61 

66 
65 

70 
68 

74 
72 

78 
76 

82 
80 

190 
195 

1.85 
1.8 

19 
18 

22 
22 

26 
25 

30 
29 

33 
32 

37 
36 

41 
40 

44 
43 

48 

47 

52 
50 

56 
54 

59 
58 

63 
61 

67 
65 

70 
68 

74 
72 

78 
76 

200 
206 

1.75 
1.7 

18 

17 

21 
20 

25 
24 

28 

27 

32 
31 

35 
34 

39 

37 

42 
41 

46 

44 

49 
48 

53 
51 

56 
54 

60 
58 

63 
61 

67 
65 

70 
68 

74 
71 

212 
218 

1.65 
1.6 

17 
16 

20 
19 

23 

22 

26 
26 

30 
29 

33 
32 

36 
35 

40 
38 

43 
42 

46 
45 

50 
48 

53 

51 

56 

54 

59 
58 

63 
61 

66 

64 

69 
67 

225 
233 

1.55 
1.5 

16 
15 

19 
18 

22 
21 

25 

24 

28 
27 

31 
30 

34 
33 

37 
36 

40 
39 

43 
42 

47 
45 

50 
48 

53 
51 

56 

54 

59 
57 

62 
60 

65 
63 

241 
250 

1.45 
1.4 

15 
14 

17 
17 

20 
20 

23 
22 

26 
25 

29 
28 

32 
31 

35 
34 

38 
36 

41 
39 

44 
42 

46 
45 

49 
48 

52 
50 

55 
53 

58 
56 

61 
59 

260 
270 

1.35 
1.3 

14 
13 

16 
16 

19 
18 

22 
21 

24 
23 

27 
26 

30 
29 

32 
31 

35 
34 

38 
36 

41 
39 

43 
42 

46 
44 

49 
47 

51 
49 

54 
52 

57 
55 

280 
295 

1.25 
1.2 

13 
12 

15 
14 

18 
17 

20 
19 

23 
22 

25 

24 

28 
26 

30 

29 

33 
31 

35 
34 

38 
36 

40 
38 

43 
41 

45 
43 

48 

46 

50 
48 

53 
50 

310 
325 

1.15 
1.1 

12 
11 

14 
13 

16 
15 

18 
18 

21 
20 

23 
22 

25 
24 

28 
26 

30 
29 

32 
31 

35 
33 

37 
35 

39 
37 

41 
40 

44 
42 

46 

44 

48 

46 

340 
360 

1.05 
1. 

11 
10 

13 

12 

15 

14 

17 
16 

19 
18 

21 
20 

23 

22 

25 
24 

27 
26 

29 
28 

32 
30 

34 
32 

36 
34 

38 
36 

40 
38 

42 
40 

44 
42 

380 
400 

.95 
.9 

10 
9 

11 
11 

13 
13 

15 
14 

17 
16 

19 
18 

21 
20 

23 
22 

25 
23 

27 
25 

29 
27 

30 
29 

32 
31 

34 
32 

36 
34 

38 
36 

40 
38 

425 
450 

.85 
.8 

9 
8 

10 
10 

12 
11 

14 
13 

15 
14 

17 
16 

19 
18 

20 
19 

22 
21 

24 
22 

26 
24 

27 
26 

29 
27 

31 
29 

32 
30 

34 
32 

36 
34 

475 

.75 

8 

9 

11 

12 

14 

15 

17 

18 

20 

21 

23 

24 

26 

27 

29 

30 

32 

500 

.7 

7 

8 

10 

11 

13 

14 

15 

17 

18 

20 

21 

22 

24 

25 

27 

28 

29 

Alphabet  Length       1       10     12     14     16     18     20     22     24     26     28     30     32     34     36     38     40     42 


1199 


how  many  lines? 


Anyone  who  has  used  "copy-fitting  systems'* 
based  on  word  count  knows  by  experience  that  such 
methods  are  inaccurate  and  misleading.  The  only 
STire  method  is  one  based  on  character  count.  The 
character  count  of  a  typewritten  manuscript  is 
easily  determined  and  with  the  help  of  the  Linotjjpe 
copy-fitting  tables,  it  is  equally  simple  to  detefrmine 
the  space  that  will  be  occupied  in  type. 


.  .  .  this  copy,  set  in  10  point  Bodoni  Book,  to  a 
12  pica  width,  will  make  12  lines  of  type  .  .  . 


CHARACTERS  BY  PICAS.  < 


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The  above  typewritten  copy  contains  8 
lines,  averaging  49  characters  to  the 
hne.  Multiplication:  8x49  =  392  char- 
acters. The  Linotype  table  of  alphabet 
lengths  shows  at  a  glance  that  the  10 
point  Bodoni  Book  lower  case  alphabet 
is  122  points  long.  The  "Characters  by 
Picas"  tabulation  indicates  that  a  twelve- 
pica  measure  will  average  33  characters 
to  the  line.  Then  392 -^  33  =12  lines.  If 
matter  is  to  be  leaded,  figure  the  addi- 
tional depth  taken  by  leads  to  determine 
the  actual  area  occupied  by  the  typeface. 


MERGENTHALER  LINOTYPE  COMPANY,  BROOKLYN,  N.  Y. 

New  York  City,  Chicago,  San  Francisco,  New  Orleans.  Canadian  Linotype, 
Limited,  Toronto.  Representatives  in  the  Principal  Cities  of  the  World. 


ALPHABETICAL  INDEX 

Linotype  Faces  are  listed  below,  together  with  locations.  Following 
is  the  Index  of  Decorative  Material,  and  Triangle  Number  Index. 


A 

Cheltenham  Special  Figures 

262d 

G 

Cheltenham  Wide  with  Bold 

230-231 

Accents  and  Special  Characters 

887-892b 

Chemical  Characters 

889 

Garamond                  

373-444 

Accents,  Piece 

892a 

Christmas  Decoration         1105 

39,  1135-36 

Garamond  Family 

419-444 

Addenda 

1163-1176 

Classic  Italic 

1075 

Garamond  Bold      

434-444 

Antique  Condensed 

1076 

Classic  with  Century  Bold 

1074-1075 

Garamond  No,  3 

374-383 

Antique  Extra  Condensed  ,     .    , 

,     .       1076 

Classic  with  Italic 

1073a-1073b 

Garamond  Bold  No,  3          384- 

-402,  1173 

Antique  No.  1 

1-8 

Clearface  Bold 

1077 

General  Information 

xi-xxiv 

Arrovir  Characters                  888a, 

1142-1143 

Clearface  Bold  Italic 

1077 

German                        ,    .    .    , 

831-838 

Astronomical  Characters 

888b 

Clearface  Bold  with  Italic 

1077 

German  No,  3 

B 

Cloister  Family 

263-300 

with  Bold  Face  No,  2 

833-837 

Cloister 

266-280 

German  No,  4  with  Bold  Face  N 

0.  4        838 

Ballot  and  Election  Characters 

890,  1118 

Cloister  Bold                           282-296,  1176 

Gothic  Family            

473-514 

Baskerville 

9-18,  1164 

Cloister  Wide  with  Cloister  Bold    297-300 

Franklin  Gothic 

474-483 

Benedictine  Family 

19-42 

Commercial  Characters 

889 

Gothic  Advertising  Figures 

512-514 

Benedictine 

28-35 

Condensed  Outline 

1065 

Gothic  Condensed  No,  1 

504 

Benedictine  Bold 

37-42 

Condensed  Title  Gothic          .    . 

1175 

Gothic  Condensed  No,  1 

Benedictine  Book 

20-27 

Condensed  Title  No.  1 

1078 

with  Combinations 

504 

Benedictine  Book  with  Benedictine           36 

Contents 

vn 

Gothic  Condensed  No,  2 

505-508 

Bodoni  Family 

43-102 

Copy  Fitting 

1193-1200 

Gothic  Condensed  No,  3 

509 

Bodoni                                          55-70,  1176 

Gothic  Condensed  No,  4 

508 

Bodoni  Bold                    72-91, 

1173,  1175 

D 

Gothic  Condensed  Outline 

1065 

Bodoni  Book 

44-54 

Gothic  No.  13 

484-493 

Poster  Bodoni                   85,  91 

-101,  1176 

Decorative  Material 

1081-1143 

Gothic  No.  13 

Bookman 

,     103-112b 

DeVinne 

301-308 

with  Cheltenham  Bold  Condensed      484 

Border  Decoration 

1087-1112 

DeVinne  with  Combinations 

308 

Gothic  No.  13 

Braces                                 888a, 

1115,  1138 

DeVinne  Condensed 

1078 

with  DeVinne  Condensed 

485 

Brackets 

888a,  1116 

DeVinne  Extra  Condensed 

1078 

Gothic  No.  14 

510 

DeVinne  Outline                 .    , 

1064 

Gothic  No.  16 

494-501 

c 

Dots,  Round  and  Square     ,    .     , 

1115 

Gothic  No.  16  with  Cheltenham 

Bold      495 

Duplex  Display           .    ,    ,    . 

1145-1162 

Gothic  No.  16  with  Title  No.  4 

496 

Caslon  Family 

113-190b 

Gothic  No.  18 

511 

Caslon 

153-162 

E 

Gothic  No.  38 

502-503 

Caslon  Bold 

Caslon  Bold  Condensed 

169-173 
185-188 

Easter  Decoration 

1111-1112 

No.  6  with  Gothic  No.  16  . 
Vertical  Gothic 

494 

189-190b 

Ecclesiastical  Characters 

889 

896 

Caslon  Bold  Extra  Condensed 

Granjon                              ,    , 
Greek 

Greek  Bold  Face  No,  1 

Greek  Display  Faces 

Greek  Elzevir 

Greek  Keyboard  Diagrams 

Greek  Metrolite 

Caslon  No.  2 

163-168 

Election  and  Ballot  Characters 

890,  1118 

445-472 

Caslon  No.  3                          17 
Caslon  No.  4 
Caslon  No.  137 

Caslon  Old  Face                   121 
Caption 

1,  174-184 

1078 

113-120 

-152,  1176 

1076 

191-218b 

209-218b 

Electra                                    309-316,  1165 
Elzevir  No,  2                                             1079 
Elzevir  No,  3                                        317-324 
Emblems                    889a,  llio,  1111,  1114 
Erbar  Family                           324a-338,  1167 
Erbar  Bold  Condensed                    334-338 
Erbar  Light  Condensed                   329-333 

819-830 
827 

828-829 
827 
830 
824 

Century  Family 

Greek  No.  1            

825 

Century  Bold 

Greek  No.  2            

209,  218a 

Erbar  Light  Condensed 

826 

Century  Bold  Condensed 

Greek  No.  3                .... 
Porson  Greek 

Century  Bold  Extra  Condensed 
Century  Expanded                192 

218a 
-208,  1164 

with  Erbar  Bold  Condensed 
Erbar  IVIediimi  Condensed 

325-334 
324b-324f 

825 
821-823 

Century  Expanded  with  Bold 

202-205 

Estienne 

339-346 

H 

Century  Expanded 

Excelsior                                  347- 

-372b,  1167 

with  Cheltenham  Bold 

206-208 

Excelsior  with  Bold  Face  No,  2 
Excelsici  with  Gothic  No,  3 

361-367 
368-370 

Hallowe'en  Characters       ... 

.       1112 

Century  Expanded 

Hebrew              

855-874 

with  Gothic  No,  16 

193,  494 

Excelsior  with  Memphis  Bold 

370a-372a 

Hebrew          

861-864 

Checker  Characters 

889,  1114 

_ 

Hebrew  Condensed 

870-873 

Cheltenham  Family 

219-262d 

F 

Hebrew  Display  Figures 

865 

Cheltenham 

221-228 

Fac-Simile  Signature  Matrix  Slides         1141 

Hebrew  Extra  Condensed 

874 

Cheltenham  Adv,  Figures 

262b-262c 

Figures 

905-956 

Hebrew  with  Hebrew  Light 

869 

Cheltenham  Bold 

237a-246 

Fists                  .... 

890,  1116 

Hebrew  with  Italic 

868 

Cheltenham  Bold  Condensed 

247-257 

Font  Schemes    ,                    xxni, 

1189-1192 

Hebrew  with  Italic  No.  3 

868    869 

Cheltenham  Bold  Extra  Cond, 

258-262a 

Food  Store  Typography 

1001-1006 

Hebrew  Light  with  Bold 

860 

Cheltenham  Condensed 

232-233 

Fractions 

957-1000 

Hebrew  No.  2 

861 

Cheltenham  Extra  Condensed 

234-235 

Fraternal  and  Society 

Hebrew  No,  2  with  Bold 

860 

Cheltenham  Medium  Condensed 

236-237 

Emblems           889a,  lllO, 

1111,  1114 

Hebrew  No,  2  (Special) 

859 

1201 


ALPHABETICAL  \UDEX,  continued 


Hebrew  No.  3 

866-867 

Metro  Family 

625-668d 

P 

Hebrew  No.  3  Italic 

866-867 

Metroblack  No.  2 

636-637b 

Hebrew  No.  3  with  Italic 

865 

M.-,roblack  No.  2  with  Italic 
Metroblack  No.  2 

638-641C 

Pabst  Extra  Bold 

Pabst  Extra  Bold  Condensed 

.    737-762 

1 

with  Metrolite  No.  2 

628-635 

754 

-761,  1173 

Indexes xxv-xxxix  or  1201-1215 

Metrolite  No.  2 

647a-647d 

Pabst  Old  Style  Condensed 

,     .     .1073 

Inferior  Characters 

,    892b 

Metrolite  No.  2  with  Italic 

648-651C 

Pabst  Old  Style  with  Italic     ,    , 
Paragon 

1072-1073 

Ionic  No.  5 

523-540 

Metrolite  No.  2 

763-774 

Ionic  No.  5  with  Bold  Face  No.  2  535-540 

with  Metroblack  No.  2 

642-647 

Paragraph  Marks 

891b,  1117 

Ionic  No.  5  with  Gothic  No.  16              535 

Metrolite  No.  4  Italic 

1080b 

Patriotic  Designs                ,1109- 

1111,  1136 

Ionic  No.  5  with  Italic 

526-534 

Metromedium  No.  2 

658-661 

Phonetic  Characters 

883-886 

Ionic  Condensed             ... 

.     .     ,1080 

Metromedium  No.  2  Italic 

,    668a 

Piece  Accents            

Piece  Brace  Matrices     ,    ,    .    . 

.     .     ,    892a 
.     .      1115 

Ionic  Extra  Condensed   .    .    . 

.     .     .1080 

Metromedium  No.  2  with  Italii 

,    662-668 

J 

Metromedium  No.  2 
with  Metrothin  No.  2 

652-657b 

Playing  Card  Characters        .    , 
Press  Syndicate  Characters   , 

891b,  1114 
,    891a 

Janson                   

.    541-548 

Metrothin  No.  2 

661a-661d 

Printed  in  U.  S.  A.,  Logotypes 

,     ,    891b 

Jenson  Condensed  

.     .     .1078 

Metrothin  No.  4  Italic 

1080b 

R 

Red  Cross  Emblems                .    . 

K 

Metro  Advertising  Figures 
Miscellaneous  Faces 

, 668b-668c 
1067-1080b 

.     .      1111 

Keyboard  Diagrams                . 

1177-1188 

Monetary  Characters     ,    ,    .    , 

...    891 

Round  and  Square  Dots 

1115 

Rule  Forms  and  Leader  Work 

L 

Musical  Characters 

...    891 

893-900 

Russian 

839-854 

Latin  Compressed 

.     .       1080a 

s 

Latin  Condensed 

.     .     .1080a 

N 

Latin  Extra  Condensed  .    .    . 

.     .     ,1080a 

Scotch       

.    775-792 

Leaders                          .    .    . 

901-904 

Narciss 

News  Dash  Matrix  Slides 

,    669-674b 
1137 

Scotch  No.  2                          77 
Self-Spacing  Faces 

5-782,  792 

Jobbing  Leaders         ... 

903 

.  806i-806p 

Leader  Aligning  Dashes 

904 

Newspaper  Body  Faces 

1011-1062 

Ionic  No.  4  with  Antique  No.  8 

806n-806p 

Newspaper  Radial  Leaders 

904 

Aids  in  Selecting 

1061-1062 

No.  17  with  Cond.  Title  No.  5 

806J-806I 

Universal  Dot  Leaders 

,     ,    902 

Excelsior  with  Bold  Face  No.  2  1020-1027 

Tariff  Typewriter               .    . 

.     .     .    806m 

Universal  Hyphen  Leaders 

,902 

Excelsior  with  Gothic  No.  3 

1028-1033 

St.  Patrick's  Day  Decoration  .    , 

.     .     ,1112 

Legibility  Group  Faces 

1011-1062 

Ionic  No.  5 

St.  Valentine's  Day  Decoration 

,      1112 

Lining  and  Jobbing  Faces 

549-572 

with  Bold  Face  No,  2 

1037-1044 

Society  and  Fraternal 

Bold  Face  No.  9 

Ionic  No.  5  with  Gothic  No.  16 

1045 

Emblems           889a,  1110, 

1111,  1114 

with  Gothic  No.  31 

562-563 

Newspaper  Body  Faces  (in  Combination) 

Special  Characters  and  Accents 

.    887-892b 

Gothic  No.  25 

with  Black  Face 

1057-1060 

Superior  Characters 

,     ,     ,    892b 

with  Gothic  Condensed  No. 
Gothic  No.  25  with  Gothic  No 

2                566 
26  566-567 

No.  6  with  Gothic  No.  16 

1056 

Symbols,  Miscellaneous 

,     .    891b 

Opticon  with  Bold  Face  No.  2 

1046-1050 

T 

Gothic  No.  29  with  Gothic  No 

30  556-557 

Paragon  with  Paragon  Bold 

1051-1055 

Gothic  No.  31  with  Gothic  No 

32  558-559 

Textype  with  Bold  Face  No.  2 

1034-1036 

Tapered  Dash  Matrix  Slides 

,     ,1137 

Gothic  No.  31  with  Gothic  No 

33  560-561 

Number  1  Series 

675-684 

Telephone  Faces 

,  806a-806h 

Gothic  No.  32  with  Gothic  No 

33  564-565 

Number  1  with  Combinations 

684 

Bell  Gothic 

.     .     ,    806d 

Greeting  Card  and  Social  Printing 

No.  2  with  Antique  No.  2 

1070 

Gothic  Condensed  No.  4 

,     ,     ,    806c 

Faces         

.    568-572 

No.  2  with  Gothic  No.  3 

1070b-1071 

Gothic  No.  12 

,    806c 

Card  Italic 

570 

No.  4  with  Bold  Face  No.  2  Condensed     1070 

No.  6  with  Gothic  No.  16 1069 

No.  8  with  Bold  Face  No.  2 1070a 

No.  11  with  Gothic  Condensed 
No.  lib  with  Gothic  Condensed 
No.  12  with  Gothic  No.  8 

\lo.  4  .    806e 

Caslon  Text   .... 

571 

No.  4b  806e 

RAQ 

806f 

Lining  Card  Gothic  Medium  with  Bold   555 

No.  10  with  Gothic  No.  4 

1068 

No.  12  with  Gothic  No.  11 

806f 

Lining  Memphis  Light 
with  Memphis  Bold 

No.  10  with  Italic  and  Small  Caps           I070a 

Telephone  Keyboard  Diagrams 

806b 

551 

No.  12  with  Gothic  No.  8 

1070a 

Textype 

793-806 

Lining  Metromedium  with  Metrothin     551 

No.  16 

685-690 

Textype  with  Bold  Face  No.  2 

803-806 

No.  18  with  Antique  Black  No.  1 

1069 

Thanksgiving  Day  Border  Decoraf 

on       ,1112 

M 

No.  21 

691-698 

Time  Table  and  Tariff  Characters 

891a 

Mathematical  Characters 

889a,  889b 

Title  No.  1 

,     ,     .1079 

Matrices,  Protection  of  New 

XXIV 

0 

Title  No.  2 

.     ,     .1079 

Matrix  Bridges 

XIV 

Typewriter  Faces                    806m,  807-810 

Matrix  Slides 

1119-1143 

Old  Style  No.  1 

699-710 

Remington  Typewriter 

.808 

Matrix  Tooth  Combinations   .    . 

.       .       ,         XVI 

Old  Style  No.  1  (Ronaldson) 

708 

Underwood  Typewriter       .    . 

.     .     .    809 

Matrix  Slide  Braces               .    . 

.     .     .1138 

Old  Style  No.  1  with  Combinat 

ons          709 

u 

Universal  Fists                           . 

Medical  Characters            891 

Memphis  Family   573-624b,  1168-72,  1174 

Old  Style  No.  3 

Old  Style  No.  7       

.    711-716 
717-730 

.890,  1116 

Memphis  Bold 

592-603 

Old  Style  No.  7  (Ronaldson) 

729 

V 

Memphis  Bold  with  Memphis 

Light        618 

Opticon                                   730a 

-7301,  1166 

Vertical  Gothic           

.    .     .    896 

Memphis  Bold  with  Memphis 

Medium    624a 

Opticon  with  Bold  Face 

Vertical  Leaders        

.     .     .    895 

Memphis  Extra  Bold 

604-611 

No.  2                             730f- 

-730k,  1166 

Vertical  Slug  Matrices  .... 

.896 

Memphis  Light 

Oriental  Faces        

,    875-882 

Vulcan  Bold       

.    811-818 

with  Memphis  Bold 

612-617 

Original  Old  Style       

.    731-736 

Memphis  Medium 

Outline  Faces 

1063-1066 

Y 

with  Memphis  Bold 

620-624 

Overline  Figures 

.     ,     ,    895 

Yuletide  Decoration           1105-09,  1135-36 

1202 


INDEX 

OF 

DECORATIVE  MATERIAL 

(S 

MOWN    ON    PAGES    108 

1    TO   I  144) 

^rr     r  1     Ullfl 

TYPE 

LINC 

^rp.r  L||>||J 

y 
MATRICES 

>TYPE    BORDER 

BORDER 

POINT                            MATRIX 

BORDER 

POINT                         MATRIX 

BORDER 

POINT                         MATRIX 

BORDER 

POINT                            MATRIX 

NO. 

SIZE           PAGE         SLIDE 

NO 

SIZE           PAGE         SLIDE 

NO. 

SIZE           PAGE         SLIDE 

NO. 

SIZE           PAGE         SLIDE 

1 

6          1098    1311 

20  V4 

6         1103 

G-40 

6          1089 

631/2 

6         1098 

la 

6         1098 

20V2 

6         1103 

41 

6            1102     1429 

G-63L 

18          1090 

G-IL 

12         1089 

G-20L 

24         1090 

G-41 

6          1089 

G-63R 

18         1090 

G-IR 

12         1089 

G-20R 

24          1090 

42 

6          1102 

64 

6          1102 

2 

6           1099    1308 

21 

6         1103 

G-42 

6          1089 

G-64L 

18          1090 

2a 

6         1099 

21a 

6          1103 

43 

6          1101 

G-64R 

18          1090 

G-2L 

12         1089 

21b 

6          1103 

G-43L 

6          1089 

65 

6          1102    1467 

G-2R 

12         1089 

G-21L 

24          1091 

G-43R 

6          1089 

65a 

6          1102 

3 

6          1098    1434 

G-21R 

24          1091 

44 

6          1103 

65b 

6          1102 

G-3L 

12          1089 

22 

6            1103     1462 

G-44L 

6          1089 

651/2 

6          1102 

G-3R 

12          1089 

G-22L 

24           1091 

G-44R 

6          1089 

G-65L 

18          1090 

G-4L 

12         1089 

G-22R 

24          1091 

45 

6          1095 

G-65R 

18          1090 

G-4R 

12         1089 

23 

6          1103 

G-45 

6          1089 

66 

6          1101    1616 

5 

6           1099     1432 

G-23L 

36          1091 

46 

6            1102     1420 

66a 

6          1101 

G-5L 

12         1089 

G-23R 

36          1091 

G-46L 

12           1090 

G-66L 

18          1090 

G-5R 

12         1089 

24 

6            1095     1424 

G-46R 

12         1090 

G-66R 

18          1090 

6 

6          1098    1317 

24a 

6          1095 

47 

6           1102     1523 

67 

6          1101    1522 

G-6L 

12          1089 

24b 

6          1095 

G-47 

12           1090 

G-67L 

18          1090 

G-6R 

12          1089 

G-24L 

36          1091 

48 

6          1103 

G-67R 

18          1090 

7 

6          1099    1304 

G-24R 

36          1091 

481/2 

6         1103 

68 

6          1111    1451 

G-7L 

12          1089 

25 

6          1092 

G-48 

12         1089 

G-68 

18          1090 

G-7R 

12         1089 

G-25L 

36          1091 

49 

6         1092 

G-68 

24          1090 

8 

6           1099    1573 

G-25R 

36          1091 

491/2 

6         1092 

69 

6          1102 

8V2 

6         1099 

26 

6          1092 

6-49L 

12         1089 

G-69 

18          1090 

G-8L 

12         1089 

G-26 

8          1102 

G-49R 

12         1089 

G-69 

24          1090 

G-8R 

12         1089 

G-26 

10          1102 

50 

6           1098     1507 

70 

6          1102 

9 

6            1099     1430 

G-26 

12           1102 

50V2 

6            1098     1459 

G-70 

18          1090 

9a 

6         1099 

G-26 

14          1102 

G-50L 

12         1090 

G-70 

24          1090 

9V4 

6         1099 

27 

6          1097 

G-50R 

12           1090 

G-71 

24          1090 

9Va 

6         1099 

G-27 

12           1102 

51 

6          1098    1506 

72 

6          1095 

G-9 

6         1089 

G-27 

18          1102 

51a 

6           1098 

72a 

6          1095 

10 

6           1099    1431 

28 

6          1097    1773 

G-51L 

12           1090 

72b 

6         1095 

G-10 

6         1089 

28a 

6          1097 

G-51R 

12         1090 

721/4 

6          1095 

11 

6           1098    1315 

28b 

6          1097 

52 

6         1102 

721/2 

6         1095 

G-llL 

6         1089 

G-28 

12           1102 

G-52L 

12         1090 

G-72 

24         1090 

G-llR 

6         1089 

G-28 

18          1102 

G-52R 

12           1090 

73 

6         1092 

12 

6            1098     1318 

29 

6          1097 

53 

6           1102    1314 

G-73 

18         1090 

12  V, 

6          1098 

G-29L 

6          1089 

53a 

6          1102 

G-73 

24         1090 

121/2 

6          1098 

G-29R 

6          1089 

G-53 

12           1090 

74 

6         1097    1717 

G-12L 

6          1089 

30 

6          1099    1458 

54 

6          1102 

74a 

6         1097 

G-12R 

6          1089 

G-30 

6          1089 

G-54 

12         1090 

74b 

6          1097 

13 

6           1098     1436 

31 

6          1098    1455 

55 

6           1102 

7414 

6          1097 

13V4 

6         1098 

G-31 

6          1089 

G-55 

12         1090 

741/2 

6          1097 

13V2 

6          1098 

32 

6          1109    1456 

56 

6           1111    1407 

G-74 

18          1090 

G-13 

6          1089 

G-32 

6          1089 

G-56 

12           1090 

G-74 

24          1090 

14 

6          1099    1310 

33 

6          1092 

57 

6          1098    1501 

75 

6          1097    1719 

14a 

6          1099 

33b 

6          1092 

G-57L 

12         1089 

75a 

6          1097 

14  lA 

6          1099 

G-33L 

6          1089 

G-57R 

12         1089 

75b 

6          1097 

14V2 

6         1099 

G-33R 

6          1089 

58 

6         1102 

7514 

6          1097 

143/4 

6         1099 

34 

6          1101 

G-58 

12         1089 

751/2 

6         1097 

G-14 

18         1090 

G-34 

6          1089 

59 

6         1103 

G-75L 

12         1089 

15 

6           1099     1457 

35 

6          1103 

591/2 

6         1103 

G-75R 

12         1089 

G-15L 

18         1090 

G-35L 

6          1089 

G-59 

12         1089 

76 

6         1100 

G-15R 

18         1090 

G-35R 

6         1089 

60 

6          1098    1438 

G-76 

12         1089 

16 

6           1099    1303 

36 

6          1103 

60 1,4 

6           1098 

77 

6         1101 

G-16L 

18          1090 

G-36 

6          1089 

601/2 

6          1098 

78 

6           1100    1411 

G-16R 

18          1090 

37 

6          1104 

G-60 

12          1089 

781/4 

6            1100 

17 

6          1099    1337 

G-37 

6          1089 

61 

6          1102 

781/2 

6            1100 

G-17L 

18          1090 

38 

6          1104 

G-61L 

12          1089 

79 

6            1101 

G-17R 

18          1090 

G-38 

6          1089 

G-61R 

12         1089 

80 

6         1102 

18 

6          1099    1441 

39 

6            1099     1404 

62 

6          1102    1439 

801/4 

6         1102 

G-18 

18          1090 

391 4 

6          1099 

62a 

6         1102 

801/2 

6          1102 

19 

6            1103     1463 

391-2 

6          1099 

62b 

6          1102 

81 

6           1101     1419 

19a 

6          1103 

G-39 

b         1089 

62 1/4 

6         1102 

82 

6          1101    1415 

19b 

6          1103 

40 

6          1098    1751 

G-62L 

12         1089 

83 

6         1103 

19V2 

6         1102 

40a 

6          1098 

G-62R 

12         1089 

84 

6         1103 

G-19L 

18          1090 

40b 

6          1098 

63 

6           1098    1503 

84a 

6         1103 

G-19R 

18          1090 

401/4 

6          1098 

63a 

6         1098 

84b 

6          1103 

20 

6          1103 

401/2 

6          1098 

631/4 

6         1098 

841/4 

6          1103 

1203 


LINOTYPE    BORDER 

MATRICES 

BORDER 

POINT 

MATRIX 

BORDER 

POINT 

MATRIX 

BORDER 

POINT 

MATRIX 

BORDER 

POINT 

MATRIX 

NO 

SIZE 

PAGE    SLIDE 

NO. 

SIZE 

PAGE    SLIDE 

NO. 

SIZE 

PAGE    SLIDE 

NO. 

SIZE 

PAGE    SLIDE 

84V2 

6 

1103 

126 

6 

1102 

162-sl 

6 

1097   159 

305a 

51/2 

1097 

85 

6 

1103 

126a 

6 

1102 

162-S2 

6 

1097   159 

305b 

51/2 

1097 

85a 

6 

1103 

126b 

6 

1102 

163 

b 

1111 

306 

51/2 

1097 

85b 

6 

1103 

127 

6 

1102 

168 

b 

1111 

3061/2 

51/2 

1097 

85  V4 

6 

1103 

128 

b 

1100 

171 

6 

1111 

308 

51/2 

1111 

851/2 

6 

1103 

129 

6 

1100 

201 

10 

1095 

401 

8 

1099  1574 

88 

6 

1102  1422 

129a 

6 

1100 

201a 

10 

1095 

4OIV2 

8 

1099 

89 

6 

1102  1468 

130 

b 

1100 

201b 

10 

1095 

402 

8 

1102  1423 

89a 

D 

1102 

131 

b 

1104 

20114 

10 

1095 

403 

8 

1100  1580 

89b 

6 

1102 

131b 

6 

1104 

2011/2 

10 

1095 

404 

8 

1100  1581 

89 '4 

6 

1102 

132 

b 

1110 

202 

10 

1102 

405 

3 

1092 

89V2 

6 

1102 

133 

b 

1100 

2023,4 

10 

1102 

406 

8 

1101 

90 

6 

1102 

134 

6 

1100 

204 

10 

1096 

407 

8 

1103 

91 

6 

1099 

135 

6 

1098 

205 

10 

1099  1575 

408 

8 

1103 

92 

6 

1099 

137 

6 

1100 

2051/2 

10 

1099 

409 

8 

1105 

92a 

6 

1099 

1371/4 

6 

1100 

206 

10 

1099 

410 

8 

1105 

93 

6 

1099  1403 

138 

6 

1099 

207 

10 

1099  1353 

411 

8 

1105 

93a 

6 

1099 

139 

6 

1098 

207i'2 

10 

1099  1353 

412 

8 

1105 

93  V, 

6 

1099 

140 

6 

1098  1460 

208 

10 

1099 

413 

8 

1100 

93 1/2 

6 

1099 

141 

6 

1101  1402 

209 

10 

1099  1307 

414 

8 

1105 

94 

6 

1101 

142 

6 

1101  1402 

210 

10 

1098 

415 

8 

1105 

95 

fo 

1102 

143 

6 

1101  1402 

211 

10 

1098  1063 

418 

8 

1103 

96 

6 

1092  1426 

144 

6 

1101  1401 

211a 

10 

1098 

419 

8 

1102 

96a 

6 

1092 

145 

b 

1101  1401 

211b 

10 

1098 

420 

8 

1101 

96b 

6 

1092 

146 

b 

1101  1401 

212 

10 

1098 

421 

8 

1109 

97 

6 

1101  1416 

147 

6 

1100 

213 

10 

1098  1604 

422 

8 

1103 

100 

6 

1097  1716 

148 

6 

1101 

214 

10 

1104 

423 

8 

1101 

100V4 

6 

1097 

148d 

6 

1101 

215 

10 

1104  1777 

424 

8 

1098 

1001/2 

6 

1097 

148e 

6 

1101 

215a 

10 

1104 

425 

8 

1103 

101 

6 

1098  1758 

148f 

6 

1101 

215b 

10 

1104 

426 

a 

1110 

101a 

6 

1098 

148g 

6 

1101 

216 

10 

1104  1775 

427 

8 

1110 

101b 

6 

1098 

149 

6 

1101 

216a 

10 

1104 

428 

8 

1111 

1011/4 

6 

1098 

149d 

b 

1101 

216b 

10 

1104 

430 

8 

1110 

1011/2 

6 

1098 

149e 

b 

1101 

217 

10 

1104  1776 

432 

8 

1111 

102 

6 

1111  1452 

149f 

6 

1101 

217a 

10 

1104 

436 

8 

1111 

104 

b 

1109 

149g 

6 

1101 

217b 

10 

1104 

437 

8 

1111 

1041/4 

6 

1109 

149h 

6 

1101 

218 

10 

1104  1778 

442 

8 

1104 

1041/2 

6 

1109 

149i 

6 

1101 

218a 

10 

1104 

445 

8 

1104 

105 

6 

1109 

149j 

b 

1101 

218b 

10 

1104 

446 

8 

1095 

106 

6 

1110 

149k 

6 

1101 

219 

10 

1104 

447 

8 

1098 

107 

6 

1110  1418 

150 

6 

1101 

220 

10 

1092 

452 

8 

1111 

108 

6 

1111  1453 

150d 

6 

1101 

221 

10 

1092  1513 

453 

8 

nil 

110 

6 

1100 

150e 

b 

1101 

221a 

10 

1092 

454 

8 

1103 

111 

6 

1100  1351 

150f 

6 

1101 

221b 

10 

1092 

501 

12 

1098 

Ilia 

6 

1100 

150g 

b 

1101 

222 

10 

1092 

502 

12 

1101 

112 

6 

1100 

150h 

6 

1101 

223 

10 

1091  1435 

503 

12 

1100  1584 

113 

6 

1097  1378 

150i 

6 

1101 

224 

10 

1095 

504 

12 

1100  1585 

113a 

6 

1097 

150j 

6 

1101 

225 

10 

1095 

505 

12 

1101 

113b 

6 

1097 

150k 

6 

1101 

225a 

10 

1095 

506 

12 

1103 

1131/4 

b 

1097 

151 

6 

1100 

225b 

10 

1095 

507 

12 

1103 

1131/2 

b 

1097 

152d 

6 

1100 

226 

10 

1095 

508 

12 

1103 

114 

b 

1097  1383 

152e 

6 

1100 

227 

10 

1095 

509 

12 

1103 

1141/4 

b 

1097 

152f 

6 

1100 

228 

10 

1095 

510 

12 

1101 

1141/2 

b 

1097 

152g 

6 

1100 

228a 

10 

1095 

511 

12 

1103 

115 

6 

1097  1386 

153d 

6 

1100 

228b 

10 

1095 

512 

12 

1103 

115a 

6 

1097 

153e 

6 

1100 

229 

10 

1095 

513 

12 

1103 

1151/4 

6 

1097 

153f 

b 

1100 

231 

10 

1100 

514 

12 

1103 

1151/2 

6 

1097 

153g 

b 

1100 

232 

10 

1100 

515 

12 

1098 

116 

b 

1097  1382 

154d 

6 

1100 

233 

10 

1092 

518 

12 

1105 

116a 

b 

1097 

154e 

6 

1100 

234 

10 

1101 

519 

12 

1105 

116V4 

b 

1097 

154f 

6 

1100 

235 

10 

1103 

520 

12 

1105 

1161/2 

b 

1097 

154g 

6 

1100 

236 

10 

1103 

521 

12 

1105 

117 

b 

1100  1360 

154h 

6 

i:oo 

239 

10 

1099 

522 

12 

1105 

117a 

b 

1100 

154i 

b 

1100 

240 

10 

1110 

523 

12 

1105 

1171/4 

b 

1100 

155d 

6 

1100 

243 

10 

1111 

524 

12 

1094  1428a 

1171/2 

b 

1100 

155e 

b 

1100 

244 

10 

1103 

524 1/4 

12 

1094 

118 

6 

1100  1409 

155f 

6 

1100 

245 

10 

1111 

5241/2 

12 

1094 

1181/4 

6 

1100 

155g 

6 

1100 

262 

10 

1111 

525 

12 

1104 

1181/2 

6 

1100 

155h 

6 

1100 

263 

10 

1111 

526 

12 

1104 

120 

6 

1097  1816 

155i 

6 

1100 

264 

10 

1103 

527 

12 

1102 

121 

6 

1097 

156 

6 

1092 

301 

51-2 

1098  1312 

528 

12 

1092 

122 

6 

1097 

157 

6 

1095  1372 

30H/4 

51/2 

1098 

52814 

12 

1092 

123 

6 

1103 

1571/4 

6 

1095 

3011/2 

51/2 

1098 

529 

12 

1104 

123a 

6 

1103 

158 

6 

1110 

302 

51/2 

1099  1309 

530 

12 

1100 

1231/4 

6 

1103 

159 

6 

1102 

3021/4 

51/2 

1099 

531 

12 

1105 

1231/2 

6 

1103 

161 

6 

1098 

3021/2 

51/2 

1099 

532 

12 

1105 

124 

6 

1098 

162 

6 

1097 

303 

51/2 

1098 

533 

12 

1110  1443 

125 

6 

1102 

1621/4 

6 

1097 

305 

51/2 

1097  1822 

534 

12 

1100 

I 


1204 


LI NOTYPE    BORDER 

MATRICES 

BORDER 

POINT 

MATRIX 

BORDER   POINT           MATRIX 

PO  1  N 

HU  1  N  1 

MATRIX 

tlO 

SIZE 

PAGE    SLIDE 

NO      SIZE     PAGE    SLIDE 

NO 

SIZE 

PAGE    SLIDE 

NO 

SIZE 

PAGf    SLIDE 

535 

12 

1092 

607     7    1111 

756 

18 

1095 

817 

24 

1112 

535b 

12 

1092 

701    18    1105 

757 

18 

1111 

818 

24 

1112 

536 

12 

1101 

702    18    1105 

758 

18 

1097 

819 

24 

1107 

537 

12 

1103 

703     18    1105 

762 

18 

1099 

821 

24 

1093 

538 

12 

1103 

704     18    1105 

763 

18 

1110 

821d 

24 

1093 

539 

12 

1100 

705     18    1105 

764 

18 

1087 

822 

24 

1093 

540 

12 

1097 

706     18    1105 

765 

18 

1087 

823 

24 

1093 

540V4 

12 

1097 

707     18    1105 

766 

18 

1087 

824 

24 

1093 

540  V2 

12 

1097 

708     18    1105 

768 

18 

1111 

825 

24 

1093 

541 

12 

1097 

709     18    1104 

769 

18 

1110 

826 

24 

1093 

541  V« 

12 

1097 

710     18    1107 

770 

18 

1094 

827 

24 

1093 

542 

12 

1100  1500b 

7101/2   18    1107 

770  >  4 

18 

1094 

828 

24 

1093 

542  V, 

12 

1100 

711     18    1107 

77012 

18 

1094 

828d 

24 

1093 

542  Vz 

12 

1100 

7111/2   18    1107 

771 L 

18 

1094 

831 

24 

1110 

543 

12 

1101 

712     18    1111 

771 R 

18 

1094 

832 

24 

1109 

544 

12 

1101 

713     18    1112 

772 

18 

1094 

833 

24 

1110 

545 

12 

1099 

714     18    1112 

773 

18 

1094 

850 

24 

1095 

546 

12 

1099 

715     18    1109 

774 

18 

1094 

851 

24 

1095 

547 

12 

1099 

715a    18    1109 

7741 4 

18 

1094 

852 

24 

1097 

548 

12 

1101 

716     18    1092 

7741/2 

18 

1094 

852a 

24 

1097 

549 

12 

1101 

717     18    1111 

775 

18 

1094 

853 

24 

1095 

550 

12 

1099 

718     18    1112 

776 

18 

1093 

854 

24 

1097 

551 

12 

1099 

719     18    1092 

77614 

18 

1093 

854a 

24 

1097 

552 

12 

1099 

719V4   18    1092 

77612 

18 

1093 

855 

24 

1095 

553 

12 

1109 

719V2   18    1092 

777 

18 

1093 

856 

24 

1097 

554 

12 

1109 

720     18    1092 

778 

18 

1094 

856a 

24 

1097 

555 

12 

1109 

721     18    1110  2006 

779 

18 

1094 

857 

24 

1095 

557 

12 

1098 

722     18    1110 

780 

18 

1094 

858 

24 

1097 

558 

12 

1098 

723     18    1093 

781 

18 

1094 

859 

24 

1095 

559 

12 

1098 

723'..   18    1093 

782 

18 

1094 

860 

24 

1095 

563 

12 

1107 

723' 2   18    1093 

783 

18 

1094 

861 

24 

1095 

563  Vz 

12 

1107 

7241/4   18    1093 

784 

18 

1094 

862 

24 

1095 

564 

12 

1107 

7241/2   18    1093 

788 

18 

1103 

863 

24 

1111 

5641/2 

12 

1107 

724L    18    1093 

790 

18 

1111 

870 

24 

1111 

565 

12 

1107 

724R    18    1093 

791 

18 

1104 

871 

24 

1108 

565V2 

12 

1107 

725     18    1096 

792 

18 

1104 

8711/2 

24 

1107 

566 

12 

1107 

726     18    1112 

793 

18 

1110 

872 

24 

1108 

566V2 

12 

1107 

727     18    1112 

794 

18 

1106  2008 

872b 

24 

1108 

567 

12 

1107 

728     18    1107 

7941 4 

18 

1106 

8721/2 

24 

1108 

5671/2 

12 

1107 

728a    18    1107 

795L 

18 

1105  2012 

873 

24 

1108 

568 

12 

1107 

7291/2   18    1106 

795R 

18 

1105  2011 

873b 

24 

1108 

5681/2 

12 

1107 

729L    18    1106 

796L 

18 

1105  2010 

874 

24 

1096 

569 

12 

1112 

729R    18    1106 

796R 

18 

1105  2009 

875 

24 

1096 

570 

12 

1111 

730     18    1106 

797 

18 

1101 

876 

24 

1096 

571 

12 

1110 

731     18    1106 

798 

18 

1108 

884 

24 

1096 

572 

12 

1110 

732     18    1109 

7981/2 

18 

1108 

885 

24 

1096 

573 

12 

1104 

733     18    1109 

799 

18 

1108 

901 

9 

1092 

574 

12 

1112 

734     18    1109 

799b 

18 

1108 

902 

9 

1101 

575 

12 

1112 

735     18    1109 

7991-2 

18 

1108 

903 

9 

1103 

576 

12 

1110 

736     18    1109 

800 

18 

1108 

904 

9 

1103 

577 

12 

1104 

737     18    1109 

800b 

18 

1108 

905 

9 

1111 

578 

12 

1104 

738     18    1106 

801 

24 

1105 

906 

9 

1111 

579 

12 

1112 

738a    18    1106 

802 

24 

1105 

1001 

12 

1104 

580 

12 

1112 

739     18    1106 

803 

24 

1105 

1002 

12 

1104 

581 

12 

1106 

739a    18    1106 

804 

24 

1105 

1004 

12 

1110 

582 

12 

1110 

740     18    1106 

805 

24 

1105 

1005 

12 

1104 

583 

12 

1112 

740a    18    1106 

806 

24 

1105 

1008 

12 

1107 

584 

12 

1112 

741     18    1106 

807 

24 

1105 

1008a 

12 

1107 

585 

12 

1104 

742     18    1112 

808 

24 

1105 

1009 

12 

1103 

586 

12 

1104 

744     18    1106  1011 

809 

24 

1104 

1009a 

12 

1103 

587 

12 

1109 

7441/2   18    1106 

810 

24 

1107 

1009b 

12 

1103 

588 

12 

1104 

745     18    1112 

810 1/2 

24 

1107 

10091 4 

12 

1103 

589 

12 

1104 

746     18    1110 

811 

24 

1107 

10091/2 

12 

1103 

590 

12 

1104 

747     18    1092 

81112 

24 

1107 

1014 

12 

1101  1519 

591 

12 

1104 

748     18    1092 

812 

24 

1109 

101412 

12 

1101  1519 

592 

12 

1109 

749     18    1092 

812a 

24 

1109 

1016 

12 

1111 

593 

12 

1112 

750L    18    1092 

813 

24 

1110 

1017 

12 

1109 

594 

12 

1104 

750R    18    1092 

814 

24 

1095 

10171.2 

12 

1109 

595 

12 

1112 

751L    18    1092 

814d 

24 

1095 

1021 

12 

1099 

596 

12 

1110 

751R    18    1092 

814e 

24 

1095 

1022d 

12 

1096 

597 

12 

1110 

752L    18    1092 

814g 

24 

1095 

1022e 

12 

1096   277b 

598 

12 

1110 

752R    18    1092 

814h 

24 

1095 

1022f 

12 

1096 

601 

7 

1102 

753     18    1092 

814i 

24 

1095 

10221 4 

12 

1096 

602 

7 

1092 

754     18    1092 

814) 

24 

1095 

102212 

12 

1096 

603 

7 

1101 

755d    18    1091 

815 

24 

1111 

1023 

12 

1109 

604 

7 

1103 

755L    18    1091 

816 

24 

1100 

1023a 

12 

1109 

605 

7 

1103 

755R    18    1091 

8161,4 

24 

1100 

1024 

12 

1091 

606 

7 

1111 

7551 4   18    1091 

81612 

24 

1100 

1025 

12 

1091 

1205 


LINOTYPE    BORDER    MATRICES 

BORDER 

POINT 

MATRIX 

BORDER       Comi                           MATRIX 

BORDER       POINT                           MATRIX 

BORDER        POINT 

MATRIX 

NO. 

SIZE 

PAGE         SLIDE 

NO.             SIZE           PAGE        SLIDE 

NO,              SIZE            PAGE         SLIDE 

NO              SIZE           PAGE 

SLIDE 

1026 

12 

1091 

1060d        12         1094 

1204           36         1088 

1232          36         1110 

1027 

12 

1091 

1060e         12         1094 

1204V,       36         1088 

12321/2       36         1110 

1027 

12  Rev 

.1091 

1060f         12          1094 

12041/2       36         1088 

1234          36         1096 

1028 

12 

1091 

1060g         12          1094 

1205           36         1089 

1235          36         1096 

1028 

12  Rev 

.1091 

1060h        12         1094 

12051,4      36         1089 

1236          36         1096 

1029 

12 

1111 

10601         12         1094 

12051/2      36         1089 

1257          36         1096 

1030 

12 

1112 

1060j         12         1094 

1206           36         1088 

1258          36         1096 

1031 

12 

1104 

10601/4      12         1094 

1206b        36         1088 

1259           36         1111 

1032 

12 

1103 

10601/2      12         1094 

1207           36         1087 

1301          28         1104 

1033 

12 

1112 

1061L        12         1091 

1207b         36         1087 

1302           28         1110 

5001 

1034 

12 

1110     1425 

1061R        12          1091 

1208b         36         1087 

1401           30         1111 

1035L 

12 

1106 

1063          12         1088 

1209           36          1087 

1405           30         1111 

1035R 

12 

1106 

IO6314      12         1088 

1209b         36          1087 

1501           14         1111 

10351/2 

12 

1106 

1064          12         1092 

1210          36         1087 

1503          14         1103 

1036 

12 

1106 

10641/4       12         1092 

1210b         36         1087 

1504           14          1101 

1037 

12 

1106 

1066           12          1111 

1211           36         1088 

1506          14         1111 

1038 

12 

1109 

1067          12         1091 

1211b         36         1088 

1510          14         1111 

1039 

12 

1109 

1068          12         1091 

1212           36         1088 

1605          10         1087 

1040 

12 

1109 

1069          12         1094 

1212b        36         1088 

1605          12         1087 

1041 

12 

1109 

1070          12         1091 

1213           36         1087 

1606          10         1087 

1042 

12 

1109 

1073          12         1091 

1213b        36         1087 

1606          12         1087 

1043 

12 

1109 

1074L        12         1091 

1214b         36         1087 

1607           12          1087 

1044 

12 

1106 

1074R         12          1091 

1215b        36         1087 

1608          12         1087 

1044a 

12 

1106 

1075           12          1111 

1216          36         1088 

1609          12         1087 

1045 

12 

1106 

1076          12         1111 

1216b        36         1088 

1610          10         1087 

1045a 

12 

1106 

1079          12         1110 

1217          36         1088 

1610          12         1087 

1046 

12 

1106 

1080          12         1109 

1217b        36         1088 

1611          12         1087 

1046a 

12 

1106 

1081          12         1111 

1218          36         1088 

1612          10         1087 

1047 

12 

1106 

1082          12         1110 

1218b         36          1088 

1612          12         1087 

1048 

12 

1112 

1083          12         1110 

1219          36         1088 

1701         18        nil 

1050 

12 

1112 

1085L        12         1106    1009 

1219b         36         1088 

1702           18         1102 

1052 
10521/2 

12 
12 

1106    1010 
1106 

1085R        12         1106    1008 
1086L         12          1105    1007 

1220           36         1088 
1220b        36         1088 

Playing  Card  Symbols 

1114 

1054 

12 

1092    1480a 

1086R        12          1105    1006 

1221           36         1088 

Checker  Symbols 

1114 

1054  v<, 
1054V2 

12 
12 

1092 
1092 

1087  12          1101 

1088  12         1106    1005 

1221b         36         1088 
1222           36         1088 

Fraternal  Emblems 

1114 

1056 

12 

1092     1482 

IO88V4      12         1106 

1222b        36         1088 

Piece  Braces 

1115 

1056V, 

12 

1092 

1092          12         1103 

1223          36         1107 

Black  Dots, 

1057d 

12 

1096 

1099             12            1091     1484 

12231/2       36         1107 

Round  and  Square 

1115 

1057e 

12 

1096     278 

1100            12           1091    1484 

1224           36         1108 

Fists,  Universal 

1057g 

12 

1096 

1101            26           1110    4501 

1224b         36         1108 

1116 

1057h 

12 

1096 

1102           26          1110 

12241/2       36          1108 

Decorative  Brackets 

1116 

10571/4 
10571/2 
1059f 

12 
12 

12 

1096 
1096 
1096 

1102V2       26          1110 

1201  36         1104 

1202  36         1093 

1225           36         1108 
1225b         36         1108 
1230           36         1110 

Paragraph  Marks 
Miscellaneous  Designs 

1117 
1112 

10591/. 

12 

1096 

1203           36          1110    7002 

1231            36          1110 

Election  Emblems 

1118 

/"irnnr  1     1  M  flT  VPIT  nir  ^ 

LINOTYPE   MATRIX  SLIDES 

For  space-saving  reasons,  t 

he  following  code  has  been  used  for  the  point  size  column 

Delow  and  on  the  fol 

owing 

pages: 

s.  c  — 

Square  Corner            r.— Reverse            C  — Center            S.  — Special 

Example:  353b  1  2s.c.  S2 

1  22  is  the  listing  (on  page  1  207)  for  1  2  point  Parallel  Rule  Matrix  Slide  No. 

353b, 

which  has  a 

square  corner 

(s.c.)  and  is  designated  as  Special  No.  2  (S2).  The  specimen  showing  of  that  s 

lide  is 

on  page  1  122. 

SLIDE 

POINT 

BORDER 

SLIDE            POINT                         BORDER 

SLIDE             POINT                           BORDER 

SLIDE            POINT 

BORDER 

NO. 

SIZE 

PAGE       MATRIX 

NO.               SIZE           PAGE      MATRIX 

NO.                SIZE            PAGE       MATRIX 

NO.               SIZE           PAGE 

MATRIX 

102 

2 

1130 

134            5         1131 

142b         12          1131 

203            2         1127 

104 

2 

1130 

134a          8         1131 

143             6         1131 

204            2         1127 

104b 

12 

1130 

134b           8         1131 

156            6         1130 

205            6         1127 

105 

2 

1130 

135             6         1131 

157            2         1130 

206            6         1127 

126 

2 

1130 

136            6         1131 

158             3         1130 

207            8         1127 

126a 

6 

1130 

136b        12         1131 

159            6         1131 

208            2         1127 

126a 

6s.c. 

1130 

140          12         1131 

159a           6         1131      162 

209            2         1127 

126b 

6 

1130 

140a         12          1131 

161             3         1130 

212            6         1127 

126b 

6S.C. 

1130 

140b         12          1131 

163b        12         1131 

213            6         1127 

128 

3 

1130 

141             8         1131 

201             2          1127 

216            6         1127 

130 

3 

1130 

141b         12         1131 

202             2          1127 

219            3         1127 

1206 


A 


LINOTYPE    MATRIX    SLIDES 

SLIDE 

POINT 

BORDER 

SLIDE 

POim          BORDER 

SLIDE     POINT           BORDER 

SLIDE 

POINT 

BORDER 

NO. 

SIZE 

PAGE   MATRIX 

NO. 

SIZE     PAGE   MATRIX 

NO.       SIZE     PAGE   MATRIX 

NO 

SIZE 

PAGE   MATRIX 

220 

3 

1127 

353b 

12S1  1122 

404b    12S.C.  1120 

409 

6 

1119 

249 

6 

1127 

353b 

12S.C.  S2  1122 

404b    12s.c.r.ll21 

409a 

b 

1120 

251 

5 

1127 

353b 

12S3  1122 

404dtoq  6    1143 

409b 

6 

1120 

252 

6 

1127 

354 

b    1121 

4041/2    2    1119 

410 

b 

1119 

255 

5 

1127 

354a 

bs.c.  1122 

4041/23  12    1120 

410a 

12 

1120 

255a 

6 

1127 

354b 

6    1121 

404i/2a  12r.   1120 

410a 

12r. 

1120 

256 

6 

1135 

354b 

bs.c.  1122 

404i2b  12    1120 

410b 

12 

1120 

258 

5 

1127 

355 

fa    1121 

404i/2b  12r.   1120 

410b 

12r, 

1120 

261 

6 

1127 

356 

6    1121 

405     2    1119 

411 

b 

1119 

262 

6 

1127 

356a 

fa    1121 

405a     b    1120 

411a 

6 

1120 

263 

4 

1126 

356a 

fes.c.  1122 

405a     br.   1120 

411a 

12 

1120 

264 

8 

1127 

356b 

6    1121 

405a     bs.c.  1120 

411a 

12S.C. 

1121 

265 

10 

1126 

356b 

fas.c.  1122 

405a     bs.c. r. 1121 

411a 

12r. 

1120 

266 

6 

1126 

375 

8    1121 

405a    12s. c.  1120 

411b 

b 

1120 

267 

12 

1126 

376 

8    1121 

405a    12s.c.r.ll21 

411b 

12 

1120 

267a 

12 

1126 

376a 

8    1121 

405a    12S3   1120 

411b 

12r. 

1120 

268 

6 

1125 

376a 

8s.c.  1122 

405b     6    1120 

412 

b 

1119 

268a 

b 

1125 

376a 

12    1121 

405b     br.   1120 

412a 

12 

1120 

269 

8 

1126 

376a 

12r.   1121 

405b     bs.c.  1120 

412b 

12 

1120 

270 

6 

1127 

376a 

12S.C.  1122 

405b     bs.c.r.ll21 

413 

8 

1119 

271 

10 

1126 

376b 

8     1121 

405b    12S.C.  1120 

413a 

12 

1120 

271a 

10 

1126 

376b 

Bs.c.  1122 

405b    12s.c.r.ll21 

413b 

12 

1120 

272 

5 

1127 

376b 

12    1121 

405b    12S3   1120 

414 

10 

1119 

274 

6 

1127 

376b 

12S.C.  1122 

406     3    1119 

414a 

10 

1120 

277 

12 

1126  1022e 

377 

8    1128 

406    12C1  1120 

414b 

10 

1120 

277a 

12s. c. 

1126 

381 

12    1121 

406     12C2  1121 

415 

10 

1119 

277b 

12 

1126  1022e 

400 

2    1119 

406     12C3  1120 

415a 

12 

1120 

278 

12 

1126  1057e 

400a 

fa    1119 

406     12C4  1120 

415b 

12 

1120 

278a 

12 

1126  1057e 

400a 

feSl   1141 

406a     6    1120 

416 

12 

1119 

278a 

12s. c. 

1126 

400a 

faS2   1141 

406a     far.   1120 

417 

12 

1119 

278b 

12 

1126  1057e 

400a 

faS3   1141 

406a     bs.c.  1120 

417a 

12 

1120 

301 

2 

1121 

400b 

fa    1119 

406a     bs.c. r. 1121 

417b 

12 

1120 

303 

3 

1121 

400b 

faSl   1141 

406a     bS   1141 

418 

12 

1119 

303a 

6 

1121 

400b 

fa52   1141 

406a    lOs.c.  1120 

418a 

12 

1120 

303a 

6r. 

1121 

400b 

6S3   1141 

406a    12    1120 

418b 

12 

1120 

303a 

6s. c. 

1121 

401 

2    1119 

406a    12S1   1120 

419 

5 

1119 

303a 

12 

1121 

401a 

b    1119 

406a  12S.C.  S2  1120 

419a 

fa 

1120 

303a 

12r. 

1121 

401a 

far.   1120 

406a    12S3  1120 

419b 

b 

1120 

303a 

12S.C. 

1122 

401a 

faS4   1141 

406b     fa    1120 

420 

10 

1119 

303b 

6 

1121 

401b 

b    1119 

406b     far.   1120 

421 

12 

1119 

303b 

6r. 

1121 

401b 

br.   1120 

406b     bs.c.  1120 

423 

b 

1119 

303b 

bs.c. 

1121 

410b 

faS4  1141 

406b     bs.c.r.ll21 

425 

3 

1119 

303b 

12 

1121 

402 

2    1119 

406b     bS   1141 

426 

b 

1119 

303b 

12r. 

1121 

402 

bS   1141 

406b    lOs.c.  1120 

427 

4 

1119 

303b 

12s. c. 

1122 

402 

8S   1141 

406b    12    1120 

455 

6 

1126 

304 

4 

1121 

402a 

6    1119 

406b    12S1  1120 

503 

4 

1123 

305 

5V2 

1121 

402a 

bs.c.  1120 

406b  12S.C.  S2  1120 

504 

3 

1123 

306 

12 

1121 

402b 

b    1119 

406b    12S3   1120 

505 

4 

1123 

307 

8 

1121 

402b 

bs.c.  1120 

407     4    1119 

505a 

b 

1124 

308 

14 

1121 

403 

2    1119 

407     12C1  1121 

505a 

bs.c. 

1124 

308a 

14 

1122 

403a 

b    1119 

407     12C2  1121 

505b 

6 

1124 

351 

4 

1121 

403a 

br.   1120 

407     12C3  1120 

506 

5 

1123 

351a 

6 

1121 

403a 

bs.c.  1120 

407     12C4  1120 

506 

far. 

1123 

351a 

6r. 

1121 

403a 

faS   1119 

407     12SC  1143 

506a 

5 

1124 

351a 

bs.c. 

1122 

403a 

14    1119 

407a     6    1120 

507 

2 

1121 

351a 

12 

1121 

403b 

fa    1119 

407a     far.   1120 

508 

4 

1123 

351a 

12s. c. 

1122 

403b 

br.   1120 

407a     fas.c.  1121 

508 

4r. 

1123 

351b 

fa 

1121 

403b 

fas.c.  1120 

407a    12    1120 

508a 

b 

1124 

351b 

far. 

1121 

403b 

feS   1119 

407a    12S1   1120 

508a 

fas.c. 

1124 

351b 

fas.c. 

1122 

403b 

14    1119 

407a  12S.C.  S2  1121 

508b 

b 

1124 

351b 

12 

1121 

404 

2    1119 

407a    12S3  1120 

508b 

fas.c. 

1124 

351b 

12s. c. 

1122 

404 

6SC  1143 

407b     fo    1120 

509 

8 

1124 

352 

6 

1121 

404a 

fa    1119 

407b     br.   1120 

510 

5 

1123 

353 

5 

1121 

404a 

far.   1120 

407b     fas.c.  1121 

510a 

5 

1124 

353 

12C1 

1122 

404a 

fas.c.  1120 

407b    12    1120 

510a 

5s. c. 

1124 

353 

12C2 

1122 

404a 

fas.c. r. 1121 

407b    12S1   1120 

513 

fa 

1123 

353 

12C3 

1121 

404a 

bS   1119 

407b  12S.C.  S2  1121 

513a 

fa 

1124 

353 

12C4 

1121 

404a 

12    1120 

407b    12S3  1120 

513a 

bs.c. 

1124 

353a 

6 

1121 

404a 

12r.   1120 

407dtoq  12    1143 

513a 

12S.C. 

1124 

353a 

bs.c. 

1122 

404a 

12S.C.  1120 

4071/2    4    1119 

513b 

fes.c. 

1124 

353a 

bs.c. 

-.1122 

404a 

12s.c.r.ll21 

4071/23   fa    1120 

513b 

12s. C. 

1124 

353a 

12 

1121 

404b 

fa    1119 

407V2a  12    1120 

514 

b 

1123 

353a 

12S1 

1122 

404b 

br.   1120 

407 1/2  b   6    1120 

514 

far. 

1123 

353a 

12s. c.  S2 

1122 

404b 

fas.c.  1120 

407i2b   br.   1120 

514a 

fa 

1124 

353a 

1253 

1122 

404b 

bs.c.r.ll21 

407i,-2b  12    1120 

514c 

6 

1124 

353b 

6 

1121 

404b 

bS   1119 

408     5    1119 

515 

b 

1123 

353b 

bs.c. 

1122 

404b 

12    1120 

408a     b    1120 

516 

b 

1123 

353b 

12 

1121 

404b 

12r.   1120 

408b     b    1120 

516a 

fa 

1124 

1207 


LINOTYPE    MATRIX    SLIDES 

SLIDE 

POINT 

BORDER 

SLIDE     POINT 

BORDER 

SLIDE 

POINT 

BORDER 

SLIDE 

POINT 

BORDER 

NO. 

SIZE 

PAGE   MATRIX 

NO.      SIZE 

PAGE   MATRIX 

NO. 

SIZE 

PAGE   MATRIX 

NO. 

SIZE 

PAGE 

MATRIX 

516a 

61-. 

1124 

742      6 

1123 

1329 

6 

1135 

1400 

12 

1128 

516a 

65. c. 

1124 

742a     6 

1123 

1330 

6 

1133 

1401 

6 

1126 

144-5-6 

516a 

6s. c. 

I-.1124 

742a     6s. c. 

1123 

1330a 

6 

1133 

1401a 

6 

1126 

516b 

6 

1124 

742a    12 

1123 

1331 

6 

1133 

1401b 

6 

1126 

516b 

6r. 

1124 

742b     6 

1123 

1331a 

6 

1133 

1402 

6 

1126 

141-2-3 

516b 

6S.C. 

1124 

742b     6s. c. 

1123 

1332 

8 

1133 

1403 

4 

1128 

93 

516b 

6s. c. 

r.ll24 

742b    12 

1123 

1332a 

8 

1133 

1404 

6 

1128 

39 

517 

6 

1123 

743     12 

1123 

1333 

6 

1135 

1406 

12 

1129 

517a 

6s. c. 

1124 

745     12 

1122 

1334 

6 

1133 

1406b 

12 

1129 

518 

12 

1123 

746     12 

1123 

1335 

6 

1135 

1407 

6 

1128 

56 

519 

10 

1124 

851     12 

1122 

1336 

12 

1132 

1408 

8 

1129 

521 

6 

1123 

852     12 

1123 

1337 

6 

1130   17 

1409 

6 

1129 

118 

522 

12 

1124 

891     12 

1122 

1337a 

6 

1130 

1410 

12 

1129 

523 

14 

1124 

892    n 

1122 

1338 

6 

1133 

1411 

6 

1129 

78 

536 

8 

1124 

893     12 

1122 

1338a 

6 

1133 

1412 

6 

1129 

537 

10 

1124 

894     12 

1123 

1338b 

6 

1133 

1413 

12 

1129 

538 

12 

1124 

895     14 

1123 

1339 

6 

1133 

1414 

12 

1129 

538a 

12s. c. 

1124 

896      8 

1123 

1339b 

6 

1133 

1415 

6 

-  1133 

82 

539 

12 

1124 

897     12 

1123 

1340 

6 

1133 

1416 

5  1/2 

1133 

97 

540 

14 

1124 

930     6 

1135    50V2 

1340b 

6 

1133 

1418 

6 

1136 

107 

541 

14 

1124 

932    12 

1135 

1341 

6 

1133 

1419 

6 

1134 

81 

542 

12 

1124 

1001     12 

1135 

1341b 

6 

1133 

1420 

6 

1134 

46 

543 

8 

1124 

1002     12 

1136 

1342 

6 

1133 

1421 

12 

1129 

543b 

8s. c. 

1124 

1005     12 

1136  1088 

1342b 

6 

1133 

1421a 

12 

1129 

545 

16 

1124 

1005a    12 

1136  1088 

1343 

6 

1135 

1422 

6 

1134 

88 

601 

5 

1122 

1006     12 

1135  1086R 

1344 

12 

1133 

1423 

8 

1134 

402 

601a 

5 

1122 

1006a    12 

1135 

1345 

12 

1133 

1424 

6 

1134 

24 

601b 

5 

1122 

1007     12 

1135  1086L 

1346 

14 

1126 

1425 

12 

1136 

1034 

602 

5V2 

1123 

1007b    12 

1135 

1347 

16 

1125 

1426 

6 

1133 

96 

602a 

12 

1123 

1008     12 

1136  1085R 

1348 

16 

1126 

1427 

6 

1133 

602b 

12 

1123 

1009     12 

1136  1085L 

1349 

12 

1133 

1427a 

6 

1133 

603 

4 

1122 

1010     12 

1136 

1350 

18 

1133 

1428a 

12 

1135 

524 

647 

10 

1122 

1010b    12 

1136  1052 

1351 

3 

1130   111 

1429 

6 

1135 

41 

648 

6 

1121 

1011     18 

1136 

1351a 

6 

1130 

1430 

5 

1130 

9 

649 

12 

1122 

1011b    18 

1136   744 

1351b 

6 

1130 

1430a 

6 

1130 

649a 

12 

1122 

1012      6 

1136 

1352 

18 

1135 

1430b 

6 

1130 

650 

8 

1122 

1012b     6 

1136 

1353 

4 

1130   207 

1431 

5 

1130 

10 

651 

5 

1122 

1204      8 

1132 

2071/2 

1432 

6 

1130 

5 

652 

6 

1122 

1204a    12 

1132 

1355 

8 

1130 

1433 

12 

1129 

652a 

6 

1122 

1205     12 

1132 

1357 

5 1/2 

1131 

1434 

6 

1129 

3 

652b 

6 

1122 

1206     12 

1135 

1358 

6 

1130 

1435 

10 

1134 

223 

653 

6 

1122 

1207L    12 

1132 

1359 

10 

1134 

1436 

6 

1129 

13 

653a 

6 

1122 

1207R    12 

1132 

1359a 

10 

1134 

1437 

12 

1134 

654 

5 

1122 

1226     12 

1133 

1360 

6 

1130   117 

1438 

5 

1131 

60 

654a 

6 

1122 

1282      6 

1135 

1361 

12 

1136 

1439 

6 

1133 

62 

654a 

5S.C. 

1122 

1295     10 

1130 

1362 

9 

1128 

1439a 

6 

1133 

654a 

6s. c. 

1122 

1296     14 

1130 

1364 

14 

1128 

1439b 

6 

1133 

654b 

5s.c. 

1122 

1297a    14 

1129 

1365 

6 

1128 

1441 

6 

1129 

18 

654b 

6 

1122 

1299     8 

1130 

1368 

6 

1133 

1441a 

6 

1129 

654b 

6s. c. 

1122 

1301     8 

1130 

1369a 

18 

1130 

1442 

10 

1135 

655 

6 

1123 

1302     4 

1130 

1371 

8 

1128 

1442a 

14 

1135 

656 

8 

1123 

1303     5 

1130   16 

1371a 

8 

1128 

1443 

12 

1136 

533 

657 

8 

1122 

1304     6 

1130    7 

1372 

b 

1134   157 

1444 

12 

1129 

658 

12 

1122 

1305     12 

1130 

1372b 

6 

1134 

1445 

6 

1129 

659 

8 

1122 

1306     12 

1134 

1373  L 

8 

1130 

1451 

6 

1136 

660 

8 

1122 

1307     10 

1130   209 

1373R 

8 

1130 

1452 

6 

1136 

661 

18 

1126 

1308     4 

1129    2 

1374L 

12 

1130 

1453 

6 

1136 

662 

18 

1123 

1309     4 

1129   302 

1374R 

12 

1130 

1454 

6 

1136 

734 

18 

1123 

1309a     6 

1129 

1376a 

18 

1130 

1455 

6 

1129 

31 

735 

8 

1123 

1309b     6 

1129 

1376b 

18 

1130 

1456 

6 

1136 

735a 

8 

1123 

1310     3 

1134   14 

1377 

6 

1132 

1457 

6 

1129 

15 

735b 

8 

1123 

1310a     6 

1134 

1378 

6 

1132   113 

1458 

6 

1129 

30 

736 

8 

1123 

1310b     6 

1134 

1380a 

12 

1130 

1459 

6 

1129 

501/2 

736a 

8 

1123 

1311     5 

1128    1 

1381 

14 

1133 

1460 

6 

1129 

140 

736a 

12s. c. 

1123 

1312     5 

1128   301 

1382 

6 

1132   116 

1462 

6 

1135 

22 

736b 

8 

1123 

1313     3 

1134 

1383 

6 

1132   114 

1463 

51/2 

1135 

19 

737 

6 

1122 

1313a    6 

1134 

1384a 

24 

1130 

1464 

6 

1135 

737a 

6 

1122 

1313b     6 

1134 

1386 

6 

1132   115 

1465 

12 

1135 

737a 

6s. c. 

1122 

1314     6 

1129   53 

1387 

6 

1128 

1467 

6 

1133 

65 

737a 

8 

1122 

1314a     6 

1129 

1388 

8 

1127 

1468 

6 

1133 

89 

737a 

12 

1122 

1314b     6 

1129 

1388a 

12 

1127 

1479 

12 

1134 

737b 

6 

1122 

1315     6 

1135    11 

1389 

6 

1128 

1479a 

12 

1134 

737b 

6s. c. 

1122 

1317     6 

1129    6 

1390 

6 

1128 

1480 

12 

1133 

737b 

12 

1122 

1318     6 

1129    12 

1391 

12 

1128 

1480a 

12 

1133 

1054 

738 

9 

1123 

1321     6 

1135 

1391a 

12 

1128 

1481 

12 

1134 

738 

9r. 

1123 

1323     6 

1135 

1392a 

12 

1127 

1481a 

12 

1134 

739 

8 

1123 

1326     6 

1135 

1394 

12 

1134 

1482 

12 

1133 

1056 

740 

6 

1123 

1327     6 

1133 

1398a 

8 

1134 

1482a 

12 

1133 

1208 


LINOTYPE    MATRIX    SLIDES 

SLIDE 

POINT 

BORDER 

SLIDE     POINT 

BORDER 

SLIDE 

POINT 

BORDER 

SLIDE     POirjT           BORDER 

NO 

SIZE 

PAGE 

MATRI> 

NO,      SIZE 

PAGE   MATRIX 

NO. 

SIZE 

PAGE   MATRIX 

NO.       SIZE     PAGE   MATRIX 

1483b 

12 

1135 

1603     10 

1129  211 

1693 

18 

1126 

1816b    6    1131 

1484 

12 

1133 

1099 

1604     10 

1129   213 

1701 

4 

1131 

1818     3    1131 

1100 

1609     6 

1127 

1708 

4 

1131 

1822     5    1131   305 

1485b 

18 

1135 

1610     12 

1127 

1712 

8 

1131 

1822a     6    1131 

1486 

11 

1134 

1613     6 

1127 

1715 

4 

1133 

1822b     b    1131 

1486b 

11 

1134 

1616     6 

1127   6b 

1716 

fa 

1131   100 

1825     18    1132 

1487 

12 

1112 

1617     4 

1127 

1716a 

12 

1131 

1826     6    1131 

1489 

12 

1134 

1618     6 

1127 

1716b 

12 

1131 

1827     6    1131 

1489b 

12 

1134 

1619     1 2 

1126 

1717 

fa 

1131    74 

1828a    18    1131 

1490 

12 

1135 

1620     12 

1126 

1718 

5 

1131 

1829a    24    1131 

1491 

12 

1128 

1621     18 

1126 

1719 

6 

1131    75 

1830     18    1135 

1492 

12 

1128 

1622     12 

1126 

1719a 

6 

1131 

1831a    18    1135 

1493 

6 

1128 

1623     5>2 

1127 

1719b 

6 

1131 

1843     6    1133 

1496 

12 

1135 

1624     6 

1126 

1721 

5 

1131 

1844     12    1130 

1499 

12 

1128 

1650     8 

1125 

1725 

6 

1134 

1844a    12    1130 

1499a 

12 

1128 

1654     10 

1133 

1728 

6 

1133 

1845     14    1130 

1500b 

12 

1131 

542 

1655a     3 

1125 

1751 

4 

1131    40 

1845a    14    1130 

1501 

6 

1129 

57 

1656     6 

1125 

1758 

6 

1131   101 

1846     14    1128 

1503 

6 

1128 

63 

1656a     6 

1125 

1763 

6 

1131 

1846a    14    1128 

1504 

10 

1128 

1658     12 

1125 

1769 

4 

1131 

1847a    14    1129 

1505 

12 

1128 

1659     12 

1125 

1773 

fa 

1131   28 

1848     22    1128 

1506 

6 

1129 

51 

1659a    1 2 

1125 

1774 

12 

1131 

1849a     8    1129 

1507 

6 

1129 

50 

1660     b 

1125 

1774a 

12 

1131 

1850     18    1128 

1509 

5V2 

1129 

1660a     6 

1125 

1775 

8 

1132   216 

1851     4    1131 

1512 

6 

1129 

1661     6 

1125 

1776 

10 

1132   217 

1853     12    1128 

1513 

10 

1134 

221 

1662     6 

1125 

1777 

10 

1132   215 

1858     b    1131 

1513a 

10 

1134 

1662a     6 

1125 

1778 

8 

1132   218 

1870     5V2  1128 

1514 

12 

1134 

1664     4 

1125 

1778a 

10 

1132 

1876     5    1127 

1514a 

12 

1134 

1665     fa 

1125 

1779 

6 

1132 

1880    11    1131 

1515 

12 

1134 

1666     1 2 

1125 

1779a 

12 

1132 

1881a     8    1133 

1515a 

12 

1134 

1667     2 

1125 

1779b 

12 

1132 

1901     12    1135 

1515b 

12 

1134 

1668     6 

1125 

1780 

9 

1132 

1951     16    1123 

1516 

10 

1127 

1668a     6 

1125 

1780b 

12 

1132 

1985    12    1135 

1516a 

12 

1127 

1669     8 

1125 

1781 

2 

1132 

2000    12    1134 

1517 

6 

1127 

1669a     8 

1125 

1782 

8 

1132 

2001     18    1134 

1518 

12 

1128 

1670     4 

1125 

1782a 

12 

1132 

2002     18    1119 

1519 

12 

1127 

1014 

1670a     4 

1125 

1782a 

12r. 

1132 

2003    18    1126 

1014V2 

1670a     bSl 

1125 

1782b 

12 

1132 

2004    18    1126 

1520 

6 

1127 

1670a     6S2 

1125 

1783 

10 

1132 

2005    18    1125 

1521 

6 

1127 

1671      5V2 

1126 

1783b 

12 

1132 

2006    18    1136  721 

1522 

6 

1134 

fe? 

1672     fa 

1126 

1788a 

12s. c. 

r.ll32 

2007     18    1124 

1523 

6 

1129 

47 

1673     12 

1126 

1789a 

fas.c. 

r.ll32 

2008     18    1136   794 

1525 

12 

1129 

1674 

1127 

1790 

3 

1132 

2008a    18    1136   794 

1526a 

12 

1133 

1675     12 

1126 

1790a 

12 

1132 

2009     18    1135   796R 

1527 

18 

1135 

1676     12 

1126 

1790b 

12 

1132 

2010     18    1135   796L 

1528a 

10 

1134 

1677     12 

1125 

1791 

4 

1132 

2011     18    1136   795R 

1529a 

12 

1134 

1678     12 

1126 

1791a 

12 

1132 

2012     18    1136   795L 

1530a 

14 

1134 

1679     12 

1125 

1791b 

12 

1132 

3501     24    1127 

1531a 

24 

1134 

1679a    12 

1125 

1792 

5 

1132 

3502     24    1126 

1554 

6 

1126 

1680     fa 

1125 

1792a 

12 

1132 

3503     24    1125 

1560 

6 

1126 

1681     3 

1125 

1792b 

12 

1132 

3504     24    1119 

1568 

3 

1127 

1681a     3 

1125 

1793 

5V2 

1132 

4501    2b    1136  1101 

1569 

6 

1127 

1682      6 

1125 

1793a 

12 

1132 

5001     28    1136  1302 

1570 

6 

1128 

1682a     6 

1125 

1793b 

12 

1132 

7002     36    1136  1203 

1571 

6 

1127 

1683     12 

1125 

1794 

10 

1132 

7003    36    1136 

1572 

6 

1128 

1683a    12 

1125 

1795 

b 

1132 

Box  Heading  Matrix  Slides  1141 

1573 

6 

1128 

8 

1684     10 

1126 

1796 

12 

1132 

Braces               11 38 

1574 

8 

1128 

401 

1685     3 

1125 

1797a 

bS.C. 

.1132 

1575 

10 

1128 

205 

1685a     6 

1125 

1799 

12 

1132 

Brackets             1140 

1576a 

18 

1128 

1685b     6 

1125 

1800 

6 

1132 

Fac-Siinile  Signature  Slides  1141 

1577a 

24 

1128 

1686     3 

1125 

1801 

5 

1134 

News  Dashes          1137 

1578a 

12 

1128 

1686a     fas.c. 

1125 

1805 

4 

1134 

Ornamental  Dashes       1139 

1579a 

18 

1128 

1686b     fas.c. 

1125 

1810 

b 

1134 

1580 

8 

1129 

403 

1687     b 

1126 

1815 

4 

1131 

Oxford  Rule  Dashes       1139 

1581 

8 

1129 

404 

1688     b 

1126 

1815a 

b 

1131 

Tapered  Dashes         1137 

1584 

12 

1129 

503 

1689     8 

1125 

1816 

51/2 

1131   120 

Vertical  Extension  Rules 

1585 

12 

1129 

504 

1691     18 

1126 

1816a 

6 

1131 

(matrices)  1141 

1209 


TRIANGLE  NUMBER  INDEX 

Matrices  are  marked  on  one  side  for  the  purpose  figure  on  the  right  indicates  the  name  of  the 

of  easy  identification  as  follows:  6A8,  6A10,  face  and   not   its  number.   Thus,   for   instance, 

8A1  2,  etc.  The  triangle  is  a  reference  mark  and  10A8  does  not  mean   10  point  No.   8,  but   10 

has  nothing  whatever  to  do  with  the  identifico-  point  Coslon  with  Italic  and  Small  Caps;  8A12 

tion  of  the  font  and  face.  The  figure  on  the  left  does  not  mean  8  point  No.  1  2,  but  8  point  Chel- 

of  the  triangle  indicates  the  point  size  and  the  tenham  with  Italic  and  Small  Caps. 


PAGE 

PAGE 

PAGE 

PAGE 

PAGE 

PAGE 

4  Point 

5iA14 

923 

6A32 

806f 

6A182 

910 

6A338 

891b 

7A8 

156 

4A2 

193 

5JA18 

909 

6A34 

909 

6A186 

1058 

6A340 

889 

7A10 

708 

4A4 

1164 

5iA22 

909 

6A36 

924 

6A188 

880 

6A342 

891 

7A12 

911 

4A330 

889a 

5JA24 

806e 

6A42 

193 

6A192 

46 

6A344 

891a 

7A13 

906 

4A344 

891a 

5JA28 

922 

6A43 

825 

6A194 

719 

6A346 

890 

7A14 

702 

4A400 

890 

5JA32 

1070 

6A44 

924 

6A200 

729 

6A348 

891b 

7A15 

906 

5iA36 

1057 

6A45 

906 

6A202 

165 

6A350 

891a 

7A18 

910 

5JA38 

906 

6A46 

924 

6A204 

556 

6A358 

888a 

7A20 

924 

434  Point 

5JA42 

535 

6A48 

923 

6A206 

556 

6A362 

958 

7A21 

906 

43A2 

494 

5JA44 

526 

6A49 

896 

6A208 

556 

6A364 

595 

7A22 

925 

5JA46 

923 

6A50 

1070 

6A210 

556 

6A366 

369 

7A23 

906 

5JA48 

361 

6A53 

505 

6A212 

562 

6A368 

578 

7A24 

924 

5  Point 

5JA50 

351 

6A56 

896 

6A214 

562 

6A372 

452 

7A26 

910 

5A1 

906 

5JA52 

922 

6A57 

906 

6A216 

562 

6A376 

551 

7A27 

906 

5A2 

1068 

5iA54 

368 

6A58 

841 

6A218 

562 

6A378 

551 

7A28 

925 

5A4 

922 

5iA60 

730f 

6A59 

906 

6A220 

319 

6A380 

551 

7A30 

1070b 

5A6 

906 

5JA64 

535 

6A60 

923 

6A224 

127 

6A382 

551 

7A31 

906 

5A8 

1070a 

5JA66 

771 

6A62 

688 

6A226 

906 

6A384 

551 

7A38 

925 

5A10 

906 

5JA330 

889a 

6A66 

972 

6A232 

248 

6A386 

551 

7A40 

924 

5A14 

922 

55A332 

888b 

6A70 

1058 

6A236 

564 

6A388 

771 

7A42 

684 

5A18 

1069 

5JA334 

891 

6A74 

924 

6A238 

564 

6A390 

766 

7A43 

906 

5A20 

701 

55A336 

889 

6A76 

1068 

6A240 

564 

6A392 

663 

7A46 

910 

5A24 

535 

5iA338 

891b 

6A82 

923 

6A242 

564 

6A394 

105 

7A48 

709 

5A26 

526 

5JA340 

889 

6A86 

733 

6A244 

30 

6A396 

386 

7A50 

687 

5A28 

174 

5JA342 

891 

6A88 

923 

6A248 

560 

6A398 

376 

7A52 

906 

5A30 

701 

5JA344 

891a 

6A90 

709 

6A250 

22 

6A400 

890 

7A58 

925 

5A32 

361 

5JA348 

891b 

6A92 

708 

6A252 

560 

6A406 

892b 

7A60 

906 

5A34 

860 

5JA350 

891a 

6A94 

203 

6A254 

560 

6A410 

173 

7A62 

1059 

5A36 

368 

5iA358 

888a 

6A96 

784 

6A256 

558 

6A414 

555 

7A63 

806c 

5A38 

173 

5JA400 

890 

6A97 

806c 

6A258 

558 

6A416 

621 

7A66 

693 

5A330 

889a 

5JA406 

892b 

6A98 

3 

6A260 

558 

6A418 

806d 

7A74 

925 

5A334 

891 

5JA460 

891 

6A100 

924 

6A262 

558 

6A420 

730f 

7A80 

203 

5A336 

889 

5JA524 

892b 

6A102 

713 

6A264 

36 

6A424 

730c 

7A86 

1058 

5A340 

889 

5iA536 

889 

6A110 

687 

6A268 

284 

6A426 

370b 

7A88 

194 

5A342 

891 

6A112 

709 

6A270 

560 

6A432 

923 

7A90 

684 

5A344 

891a 

6A114 

708 

6A274 

423 

6A434 

639 

7A92 

57 

5A348 

891b 

6  Point 

6A116 

906 

6A276 

298 

6A436 

649 

7A94 

46 

5A350 

891a 

6A1 

906 

6A118 

1058 

6A280 

266 

6A438 

888a 

7A96 

720 

5A356 

892b 

6A2 

677 

6A120 

806e 

6A286 

435 

6A440 

892a 

7A98 

910 

5A362 

957 

6A4 

910 

6A122 

1070a 

6A288 

536 

6A442 

643 

7A102 

692 

5A400 

890 

6A5 

906 

6A123 

896 

6A290 

868 

6A460 

891 

7A104 

30 

5A406 

892b 

6A6 

1070b 

6A124 

709 

6A296 

803 

6A524 

892b 

7A110 

22 

5A522 

892b 

6A8 

702 

6A125 

906 

6A298 

628 

6A536 

889 

7A118 

806f 

5A524 

892b 

6A10 

910 

6A128 

708 

6A300 

652 

7A120 

36 

6A12 

684 

6A132 

806j 

6A302 

527 

6 1/2  Point 

7A122 

537 

6A14 

709 

6A150 

693 

6A304 

795 

6iA2 

536 

7A126 

529 

5'/2  Point 

6A15 

906 

6A156 

74 

6A306 

449 

6^A4 

924 

7A130 

803 

5JA1 

906 

6A16 

708 

6A158 

57 

6A310 

630 

6JA6 

527 

7A132 

795 

55A2 

1057 

6A17 

861 

6A160 

174 

6A312 

654 

7A136 

362 

5JA4 

677 

6A18 

833 

6A162 

237b 

6A314 

362 

6^4  Point 

7A138 

363 

5JA5 

906 

6A19 

906 

6A164 

566 

6A320 

351 

biA2 

537 

7A140 

353 

5JA6 

909 

6A20 

1073a 

6A166 

566 

6A324 

923 

63A4 

528 

7A142 

352 

5iA7 

906 

6A21 

906 

6A168 

566 

6A326 

585 

7A148 

729 

5JA8 

684 

6A22 

910 

6A170 

566 

6A328 

889a 

7  Point 

7A152 

694 

5iA9 

906 

6A24 

303 

6A172 

207 

6A330 

889a 

7A1 

906 

7A154 

175 

SiAlO 

923 

6A28 

1057 

6A174 

825 

6A332 

888b 

7A2 

1059 

7A156 

370 

5JA11 

906 

6A29 

828 

6A176 

806e 

6A334 

891 

7A4 

678 

7A158 

369 

5JA12 

922 

6A30 

708 

6A180 

230 

6A336 

889 

7A6 

688 

7A162 

772 

1210 


LINOTYPE 

TRIANGLE    NUMBER 

INDEX,  continued 

CAGE 

P/-GE 

PAGE 

PAGE 

PAGE 

PAGE 

7  Point,  con 

I'd 

8A32 

808 

8A192 

684 

8A426 

630 

9A74 

906 

10A34 

708 

7A164 

766 

8A34 

708 

8A194 

684 

8A428 

654 

9A78 

320 

10A36 

785 

7A166 

730g 
115 

8A36 

708 

8A196 

709 

8A432 

355 

9A82 

128 

10A38 

835 

7A168 

8A38 

912 

8A200 

708 

8A434 

806m 

9A84 

913 

10A40 

915 

7A170 

106 

8A39 

505 

8A204 

485 

8A436 

543 

9A90 

31 

10A41 

505 

7A172 

376 

8A40 

1059 

8A206 

496 

8A438 

888a 

9A94 

23 

10A42 

915 

7A174 

386 

8A41 

906 

8A208 

175 

8A440 

349 

9A100 

36 

10A43 

907 

7A176 

74 

8A42 

912 

8A210 

927 

8A442 

613 

9A102 

424 

10A44 

709 

7A180 

1166 

8A44 

912 

8A212 

721 

8A444 

348 

9A104 

47 

10A46 

842 

7A182 

1165 

8A46 

926 

8A214 

694 

8A446 

911 

9A110 

868 

10A48 

689 

7A184 

1164 

8A48 

912 

8A218 

709 

8A448 

595 

9A112 

539 

10A49 

908 

7A186 

925 

8A49 

828 

8A220 

911 

8A450 

578 

9A116 

532 

10A54 

915 

7A188 

806cl 

8A50 

709 

8A222 

75 

8A452 

806n 

9A118 

804 

10A56 

928 

7A190 

1014 

8A52 

927 

8A224 

708 

8A454 

8O60 

9A122 

797 

10A58 

928 

7A330 

889a 

8A54 

688 

8A228 

729 

8A456 

585 

9A126 

779 

10A61 

907 

7A332 

888b 

8A56 

926 

8A230 

925 

8A460 

891 

9A128 

13 

10A63 

907 

7A334 

891 

8A58 

843 

8A234 

926 

8A462 

773 

9A130 

176 

10A64 

896 

7A336 

889 

8A59 

906 

8A240 

927 

8A464 

768 

9A132 

4 

10A66 

841 

7A338 

891b 

8A60 

237b 

8A242 

806k 

8A466 

115 

9  A 134 

356 

10A67 

962 

7A340 

889 

8A62 

927 

8A252 

911 

8A468 

370 

9A136 

364 

10A68 

928 

7A342 

891 

8A66 

927 

8A254 

207 

8A470 

107 

9A140 

614 

10A69 

504 

7A344 

891a 

8A69 

504 

8A260 

906 

8A476 

387 

9A142 

453 

10A70 

929 

7A346 

890 

8A70 

1070b 

8A262 

58 

8A478 

377 

9A144 

116 

10A72 

928 

7A348 

891b 

8A71 

861 

8A266 

566 

8A482 

730h 

9A146 

586 

10A74 

928 

7A350 

891a 

8A72 

926 

8A274 

30 

8A484 

311 

9A148 

596 

10A75 

907 

7A358 

888a 

8A74 

926 

8A280 

47 

8A488 

621 

9A150 

108 

10A76 

826 

7A362 

QfiQ 

8A82 

784 

8A282 

925 

8A490 

654 

9A152 

377 

10A78 

827 

7A400 

890 

8A85 

906 

8A284 

911 

8A492 

630 

9A154 

387 

10A80 

843 

7A406 

B92b 

8A87 

822 

8A298 

165 

8A494 

663 

9A156 

769 

10A82 

238 

7A438 

888a 

8A88 

927 

8A306 

319 

8A496 

730d 

9A158 

773 

10A84 

928 

7A4(iO 

RQ1 

8A90 

926 

8A308 

211 

8A500 

925 

9A160 

1165 

10A86 

1074 

7A524 
7  A  536 

071 

892b 

889 

8A91 

906 

8A312 

127 

8A502 

370b 

9A162 

730i 

10A88 

843 

8A92 

926 

8A314 

906 

8A504 

1167 

9A166 

977 

10A90 

842 

8A94 

842 

8A316 

912 

8A506 

606 

9A330 

889a 

10A91 

571 

8A96 

841 

8A318 

484 

8A508 

806d 

9A332 

888b 

10A92 

4 

7'/2  Point 

8A98 

679 

8A320 

495 

8A510 

824 

9A334 

891 

10A94 

907 

8A100 

912 

8A328 

889a 

8A512 

639 

9A336 

889 

10A98 

715 

7JA2 

538 

8A101 

906 

8A330 

889a 

8A516 

649 

9A338 

891b 

lOAlOl 

1065 

7iA4 

530 

8A104 

926 

8A332 

888b 

8A518 

926 

9A340 

889 

10A102 

504 

7iA6 

363 

8A105 

906 

8A334 

891 

8A520 

643 

9A342 

891 

10A103 

907 

72A8 

354 

8A108 

1074 

8A336 

889 

8A524 

892b 

9A344 

891a 

10A104 

915 

72AIO 

730g 

8A110 

843 

8A338 

891b 

8A536 

889 

9A346 

890 

10A106 

825 

7JA16 

730c 

8A114 

3 

8A340 

889 

8AA18 

341 

9A348 

891b 

10A108 

844 

7iA18 

772 

8A116 

714 

8A342 

891 

9A350 

891a 

lOAllO 

844 

7JA20 

767 

8A118 

912 

8A344 

891a 

9A358 

888a 

10A112 

204 

7JA22 

974 

8A120 

844 

8A346 

890 

9  Point 

9A362 

961 

10A114 

928 

72A24 

1014 

8A122 

203 

8A348 

891b 

9A2 

703 

9A400 

890 

10A115 

502 

72A350 

891a 

8A124 

925 

8A350 

891a 

9A4 

304 

9A406 

892b 

10A116 

687 

8A126 

925 

8A358 

888a 

9A6 

927 

9A438 

888a 

10A120 

709 

8A128 

687 

8A360 

22 

9A8 

708 

9A460 

891 

10A122 

708 

73^  Point 

8A130 

906 

8A362 

960 

9A10 

834 

9A524 

892  b 

10A123 

671 

73A2 

1167 

8A131 

906 

8A364 

38 

9A12 

689 

9A536 

889 

10A124 

928 

8A132 

926 

8A366 

36 

9A14 

927 

10A125 

569 

8A133 

906 

8A370 

284 

9A18 

157 

10A126 

825 

8  Point 

8A134 

709 

8A372 

423 

9A24 

927 

1  0  Point 

10A128 

709 

8A1 

906 

8A136 

708 

8A374 

298 

9A26 

927 

lOAl 

999 

10A130 

708 

8A2 

912 

8A138 

733 

8A378 

266 

9A28 

913 

10A2 

915 

10A131 

570 

8A4 

896 

8A140 

925 

8A380 

435 

9A29 

861 

10A4 

734 

10A132 

928 

8A5 

960 

8  A 144 

927 

8A382 

538 

9A32 

913 

10A6 

704 

10A134 

230 

8A6 

1060 

8A150 

825 

8A384 

531 

9A34 

927 

10A8 

157 

10A136 

928 

8A8 

1060 

8A151 

569 

8A386 

452 

9A36 

826 

lOAlO 

681 

10A137 

896 

8A10 

679 

8A152 

709 

8A392 

906 

9A38 

827 

10A12 

928 

10A138 

928 

8A12 

222 

8A154 

708 

8A394 

804 

9A40 

927 

10A14 

915 

10A139 

497 

8A13 

960 

8A156 

230 

8A396 

796 

9A42 

927 

10A16 

196 

10A142 

232 

8A14 

912 

8A157 

630 

8A400 

890 

9A44 

680 

10A18 

223 

10A143 

631 

8A16 

1059 

8A158 

806f 

8A406 

892b 

9A46 

222 

10A19 

907 

10A146 

880 

8A18 

303 

8A159 

906 

8A408 

868 

9A48 

709 

10A20 

914 

10A148 

248 

8A20 

833 

8A162 

925 

8A410 

628 

9A50 

827 

10A22 

1073b 

10A152 

929 

8A22 

911 

8A164 

1059 

8A412 

93 

9A52 

708 

10A23 

822 

10A153 

1004 

8A24 

156 

8A166 

232 

8A414 

652 

9A56 

687 

10A24 

304 

10A154 

485 

8A25 

906 

8A168 

926 

8A416 

778 

9A58 

195 

10A25 

906 

10A156 

496 

8A26 

194 

8A176 

248 

8A418 

449 

9A60 

695 

10A26 

915 

10A158 

709 

8A28 

1073a 

8A178 

927 

8A420 

12 

9A62 

722 

10A28 

914 

10A160 

914 

8A29 

906 

8A182 

911 

8A422 

927 

9A64 

729 

10A30 

914 

10A162 

1071 

8A30 

703 

8A190 

880 

8A424 

364 

9A72 

204 

10A32 

708 

10A166 

913 

1211 


LINOTYPE 

TRIANGLE    NUMBER 

INDEX,  continued 

PAGE 

PAGE 

PAGE 

PAGE 

PAGE 

PAGE 

10  Point,  cont'd 

10A390 

533 

11A58 

725 

12A21 

907 

12A153 

896 

12A338 

891b 

10A170 

709 

10A392 

539 

13..60 

729 

12A22 

198 

12A156 

930 

12A340 

889 

10A174 

708 

10A394 

809 

11A62 

955 

12A24 

930 

12A158 

907 

12A342 

891 

10A176 

928 

10A398 

614 

11A66 

842 

12A25 

828 

12A160 

60 

12A344 

891a 

10A178 

915 

10A400 

890 

11A68 

929 

12A26 

709 

12A163 

498 

12A346 

890 

10A180 

176 

10A406 

892b 

11A70 

204 

12A27 

907 

12A164 

837 

12A348 

891b 

10A182 

929 

10A408 

341 

11A72 

684 

12A28 

708 

12A166 

202 

12A350 

891a 

10A184 

723 

10A410 

754 

11A74 

321 

12A29 

571 

12A167 

632 

12A358 

888a 

10A186 

696 

10A412 

596 

11A76 

130 

12A30 

504 

12A168 

566 

12A362 

966 

10A190 

928 

10A414 

579 

11A78 

916 

12A33 

908 

12A169 

881 

12A364 

632 

10A192 

914 

10A416 

328 

11A84 

31 

12A37 

907 

12A175 

823 

12A366 

656 

10A194 

1072 

10A418 

586 

11A88 

23 

12A38 

896 

12A176 

32 

12A368 

540 

10A196 

76 

10A420 

881 

11A94 

36 

12A39 

907 

12A180 

907 

12A370 

808 

10A198 

708 

10A422 

312 

11A96 

426 

12A40 

690 

12A184 

880 

12A374 

782 

10A200 

729 

10A424 

117 

11A98 

268 

12A44 

931 

12A186 

49 

12A376 

615 

10A206 

928 

10A428 

109 

11A102 

454 

12A46 

239 

12A188 

929 

12A378 

366 

10A208 

207 

10A436 

388 

11A104 

197 

12A48 

843 

12A190 

726 

12A380 

917 

10A218 

59 

10A438 

888a 

11A106 

238 

12A50 

826 

12A194 

729 

12A382 

754 

10A224 

907 

10A440 

378 

11A108 

860 

12A51 

907 

12A196 

918 

12A384 

314 

10A226 

202 

10A444 

606 

IIAIIO 

781 

12A52 

844 

12A198 

212 

12A386 

562 

10A228 

566 

10A448 

770 

11A112 

167 

12A53 

907 

12A200 

809 

12A388 

597 

10A240 

31 

10A450 

774 

11A114 

450 

12A54 

841 

12A202 

808 

12A390 

580 

10A244 

998 

10A454 

622 

11A116 

15 

12A55 

907 

12A208 

556 

12A392 

328 

10A250 

48 

10A456 

655 

11A118 

545 

12A56 

930 

12A210 

556 

12A396 

558 

10A260 

166 

10A458 

631 

11A120 

358 

12A58 

1074 

12A212 

556 

12A398 

587 

10A266 

915 

10A460 

891 

11A122 

118 

12A60 

918 

12A214 

556 

12A400 

890 

10A268 

211 

10A462 

664 

11A124 

313 

12A62 

907 

12A216 

562 

12A406 

892b 

10A270 

809 

10A464 

881 

11A126 

379 

12A64 

205 

12A218 

562 

12A416 

551 

10A272 

808 

10A466 

371 

11A128 

365 

12A65 

511 

12A220 

562 

12A418 

551 

10A274 

320 

10A468 

730e 

11A130 

389 

12A66 

842 

12A222 

562 

12A420 

551 

10A276 

1064 

10A470 

730j 

11A132 

110 

12A67 

907 

12A224 

322 

12A422 

551 

10A280 

129 

10A472 

885 

11A134 

1166 

12A68 

5 

12A228 

880 

12A424 

551 

10A282 

907 

10A476 

640 

11A136 

881 

12A69 

1065 

12A234 

880 

12A426 

551 

10A284 

914 

10A478 

650 

11A138 

1166 

12A70 

687 

12A236 

132 

12A428 

551 

10A286 

484 

10A480 

881 

11A330 

889a 

12A73 

907 

12A238 

907 

12A432 

881 

10A288 

495 

10A482 

644 

11A332 

888b 

12A74 

168 

12A240 

917 

12A434 

551 

10A292 

23 

10A486 

1168 

11A334 

891 

12A75 

907 

12A242 

484 

12A436 

513 

10A296 

38 

10A494 

1169 

11A336 

889 

12A76 

825 

12A244 

495 

12A438 

888a 

10A298 

36 

10A522 

892b 

11A338 

891b 

12A77 

907 

12A250 

564 

12A440 

119 

10A302 

285 

10A524 

892b 

11A340 

889 

12A78 

709 

12A252 

564 

12A444 

111 

10A304 

425 

10A536 

889 

11A342 

891 

12A79 

862 

12A254 

564 

12A446 

881 

10A306 

299 

11A344 

891a 

12A80 

708 

12A256 

564 

12A452 

390 

10A312 

267 

lOVi  Point 

10JA2 
10JA4 

11A346 

890 

12A81 

870 

12A258 

24 

12A454 

380 

10A314 

436 

11A348 

891b 

12A84 

709 

12A260 

39 

12A458 

607 

10A318 

453 

724 

11A350 

891a 

12A86 

708 

12A262 

698 

12A460 

891 

10A320 

739 

729 

11A358 

888a 

12A88 

231 

12A264 

809 

12A462 

555 

10A322 

805 

11A362 

964 

12A90 

930 

12A266 

558 

12A464 

665 

10A324 

798 

1 1  Point 

11A400 

890 

12A94 

232a 

12A268 

558 

12A466 

623 

10A326 

93 

11A2 

682 

11A406 

892b 

12A96 

716 

12A270 

558 

12A468 

656 

10A328 

889a 

11A4 

705 

11A438 

888a 

12A98 

249 

12A272 

558 

12A470 

632 

10A330 

889a 

11A6 

708 

11A460 

891 

12A100 

918 

12A274 

36 

12A472 

881 

10A332 

888b 

11A8 

916 

11A524 

892b 

12A102 

485 

12A276 

286 

12A474 

730k 

10A334 

891 

IIAIO 

786 

11A536 

889 

12A104 

496 

12A278 

427 

12A476 

641 

10A336 

889 

11A12 

158 

12A108 

1064 

12A280 

299 

12A478 

651 

10A338 

891b 

11A14 

305 

1 1  1/2  Point 

11JA2 

12A109 

569 

12A284 

269 

12A480 

1168 

10A340 

889 

11A16 

929 

12A114 

919 

12A286 

437 

12A486 

560 

10A342 

891 

HA17 

504 

787 

12A116 

709 

12A288 

455 

12A488 

372 

10A344 

891a 

11A18 

916 

131 

12A118 

708 

12A292 

739 

12A492 

645 

10A346 

890 

11A19 

907 

12A120 

177 

12A294 

869 

12A494 

1002 

10A348 

891b 

11A20 

955 

1 2  Point 

12A122 

1064 

12A296 

869 

12A502 

1169 

10A350 

891a 

11A22 

709 

12A2 

683 

12A124 

918 

12A298 

94 

12A524 

892b 

10A356 

892b 

11A23 

907 

12A4 

706 

12A125 

1065 

12A300 

813 

12A526 

889b 

10A358 

888a 

11A24 

836 

12A5 

907 

12A126 

709 

12A302 

628 

12A536 

889 

10A360 

813 

11A26 

708 

12A6 

735 

12A127 

671 

12A308 

652 

12A980 

342 

10Z\362 

963 

11A31 

907 

12A7 

907 

12A128 

918 

12A310 

805 

10A364 

628 

11A37 

861 

12A8 

708 

12A129 

502 

12A314 

16 

10A370 

652 

11A40 

907 

12A10 

788 

12A130 

1072 

12A316 

451 

1 4  Point 

10A374 

780 

11A42 

917 

12A11 

907 

12A132 

77 

12A318 

546 

14A1 

908 

10A376 

450 

11A44 

841 

12A12 

159 

12A134 

708 

12A320 

534 

14A2 

736 

10A378 

14 

11A45 

907 

12A13 

504 

12A136 

1071 

12A324 

799 

14A3 

506 

10A380 

365 

11A48 

223 

12A14 

306 

12A140 

208 

12A328 

889a 

14A4 

224 

10A382 

631 

11A49 

859 

12A16 

930 

12A141 

570 

12A330 

889a 

14A5 

504 

10A384 

655 

11A51 

859 

12A17 

505 

12A148 

930 

12A332 

888b 

14A7 

218b 

10A386 

357 

11A54 

827 

12A18 

224 

12A150 

844 

12A334 

891 

14A9 

513 

10A388 

544 

11A56 

697 

12A20 

1073b 

12A152 

930 

12A336 

889 

14A10 

932 

1212 


LINOTYPE 

TRIANGLE    NUMBER 

INDEX,   continued 

PAGE 

PAGE 

PAGE 

PAGE 

;  AGE 

PAGE 

14  Point,  cont'd 

14A140 

931 

16A9 

514 

18A85 

950 

18A255 

262b 

18A411 

1171 

14A11 

514 

14A142 

789 

16A15 

18 

18A86 

1151 

18A257 

652 

18A415 

1173 

14A12 

920 

14A146 

24 

lfeA17 

933 

18A87 

7 

18A259 

652 

18A417 

949 

14A13 

262b 

14A148 

1077 

16A21 

62 

18A88 

1153 

18A261 

879 

18A423 

668a 

14A14 

690 

14A150 

39 

16A338 

891b 

18A89 

845 

18A263 

271 

18A460 

891 

14A16 

908 

14A152 

36 

16A942 

344 

18A90 

1152 

18A265 

429 

14A20 

205 

14A154 

287 

18A91 

845 

18A267 

277 

14A22 

931 

14A156 

428 

18A92 

1152 

18A269 

432 

20  Point 

14A24 

709 

14A158 

300 

1  8  Point 

18A93 

1073 

18A271 

571 

20A3 

1078 

14A26 

1075 

14A162 

270 

18A1 

506 

18A95 

1079 

18A277 

439 

20A5 

1076 

14A28 

932 

14A164 

438 

18A3 

514 

18A97 

240 

18A279 

442 

20A7 

871 

14A29 

908 

14A168 

865 

18A4 

1153 

18A99 

232b 

18A283 

89 

20A9 

225 

14A30 

239 

14A170 

456 

18A5 

513 

18A101 

63 

18A285 

569 

20A11 

845 

14A31 

908 

14A172 

740 

18A6 

657a 

18A103 

7 

18A287 

1080 

20A15 

935 

14A33 

511 

14A174 

94 

18A8 

634 

18A105 

832 

18A289 

513 

20A17 

227 

14A34 

160 

14A176 

814 

18A9 

218b 

18A109 

948 

18A295 

570 

20A25 

262b 

14A36 

687 

14A178 

547 

18A10 

1150 

18A111 

33 

18A297 

866 

20A27 

509 

14A38 

708 

14A180 

628 

18A11 

218b 

18A113 

1079 

18A299 

866 

20A346 

890 

14A39 

262b 

14A186 

652 

18A12 

1152 

18A115 

1078 

18A301 

457 

14A40 

231 

14A188 

17 

18A13 

262b 

18A117 

935 

18A303 

457 

14A42 

232a 

14A192 

451 

18A14 

1152 

18A119 

948 

18A305 

741 

21  Point 

14A43 
14A46 

908 
249 

14A194 
14A196 

806 
633 

18A15 
18A16 

262c 
617 

18A121 
18A123 

934 
200 

18A307 
18A309 

748 
95 

21A1 

21A3 

21A5 

21 A7 

21A13 

21A15 

21A17 

21A19 

21A21 

21A25 

21A684 

1080a 

135 

151 

673 

64 

80 

86 

14A48 

485 

14A198 

657 

18A17 

262b 

18A125 

51 

18A311 

815 

14A50 

496 

14A200 

616 

18A18 

1150 

18A129 

1075 

18A313 

95 

14A52 

1064 

14A202 

919 

18A19 

262c 

18A131 

255 

18A315 

880 

14A54 

178 

14A204 

755 

18A20 

599 

18A133 

213 

18A317 

818 

14A56 

6 

14A206 

598 

18A22 

1153 

18A135 

67 

18A319 

880 

14A58 

199 

14A208 

581 

18A24 

250 

18A139 

556 

18A321 

636 

14A60 

920 

14A210 

328 

18A26 

1151 

18A141 

556 

18A323 

281 

458 
816 
950 

14A61 

487 

14A212 

588 

18A28 

589 

18A143 

558 

18A325 

668c 

14A62 

709 

14A214 

367 

18A29 

514 

18A145 

556 

18A327 

756 

14A64 

920 

14A216 

315 

18A30 

801 

18A147 

556 

18A328 

889a 

945 

14A65 

908 

14A218 

359 

18A33 

504 

18A149 

558 

18A329 

636 

14A66 

1073 

14A220 

800 

18A34 

495 

18A151 

562 

18A331 

647a 

22  Point 

14A67 

879 

14A222 

1002 

18A35 

1076 

18A155 

324 

18A333 

658 

14A68 

78 

14A224 

881 

18A36 

484 

18A157 

562 

18A334 

891 

22A1 

879 

14A70 

708 

14A228 

391 

18A37 

1080a 

18A163 

185 

18A335 

661a 

14A72 

709 

14A232 

112 

18A38 

1150 

18A165 

79 

18A336 

889 

14A74 

708 

14A234 

608 

18A41 

259 

18A167 

880 

18A337 

91 

24  Point 

14A76 

707 

14A236 

381 

18A42 

1157 

18A169 

134 

18A338 

891b 

24A3 

218b 

14A77 

908 

14A240 

624 

18A43 

510 

18A171 

151 

18A340 

889 

24A5 

262b 

14A78 

708 

14A242 

657 

18A44 

200 

18A173 

216 

18A343 

748 

24A6 

657b 

14A80 

1064 

14A244 

633 

18A46 

641b 

18A175 

244 

18A346 

890 

24A7 

262c 

14A83 

879 

14A246 

666 

18A47 

949 

18A177 

935 

18A347 

582 

24A8 

635 

14A84 

307 

14A250 

641a 

18A48 

618 

18A179 

499 

18A348 

891b 

24A10 

1150 

14A85 

672 

14A252 

372a 

18A50 

651b 

18A181 

945 

18A349 

600 

24A12 

1153 

14A86 

208 

14A256 

651a 

18A52 

609 

18A183 

1064 

18A350 

891a 

24A15 

218b 

14A87 

502 

14A258 

646 

18A53 

1078 

18A187 

86 

18A351 

334 

24A19 

514 

14A89 

879 

14A260 

1168 

18A54 

667 

18A191 

935 

18A353 

329 

24A20 

1172 

14A90 

932 

14A268 

1169 

18A55 

1078 

18A193 

728 

18A355 

345 

24A21 

506 

14A91 

879 

14A330 

889a 

18A56 

1153 

18A195 

790 

18A357 

609a 

24A22 

1153 

14A92 

908 

14A332 

888b 

18A57 

218a 

18A197 

790 

18A358 

888a 

24A23 

1076 

14A94 

61 

14A334 

891 

18A58 

1154 

18A199 

1079 

18A359 

668c 

24A24 

1152 

14A95 

569 

14A336 

889 

18A59 

251 

18A203 

91 

18A363 

1003 

24A25 

1080a 

14A97 

570 

14A338 

891b 

18A60 

1151 

18A207 

879 

18A365 

1002 

24A26 

1151 

14A102 

202 

14A340 

889 

18A62 

1154 

18A209 

234 

18A367 

512 

24A27 

1078 

14A106 

32 

14A342 

891 

18A63 

934 

18A211 

53 

18A369 

512 

24A29 

259 

14A108 

920 

14A344 

891a 

18A64 

624a 

18A213 

179 

18A371 

512 

24A31 

949 

14A112 

931 

14A346 

890 

18A65 

488 

18A215 

182 

18A373 

661a 

24A33 

949 

14A114 

50 

14A348 

891b 

18A66 

1151 

18A221 

35 

18A375 

647a 

24A34 

495 

14A117 

185 

14A350 

891a 

18A67 

832 

18A225 

25 

18A377 

636 

24A35 

948 

14A118 

838 

14A358 

888a 

18A68 

1155 

18A227 

933 

18A379 

589a 

24A36 

484 

14A119 

498 

14A362 

968 

18A70 

1156 

18A229 

27 

18A381 

589a 

24A37 

262b 

14A120 

727 

14A400 

890 

18A71 

511 

18A233 

40 

18A385 

161 

24A38 

1150 

14A121 

633 

14A406 

892b 

18A72 

1157 

18A235 

647a 

18A389 

236 

24A39 

514 

14A122 

729 

14A438 

888a 

18A74 

647 

18A237 

42 

18A391 

324c 

24A45 

513 

14A124 

212 

14A460 

891 

18A75 

1065 

18A239 

1077 

18A395 

658 

24A46 

641c 

14A126 

323 

14A524 

892b 

18A76 

956 

18A241 

1077 

18A397 

575 

24A47 

936 

14A128 

919 

14A941 

343 

18A78 

1158 

18A243 

288 

18A399 

474 

24A48 

618 

14A129 

575 

18A79 

708 

18A245 

293 

18A400 

890 

24A50 

651c 

14A132 

133 

18A80 

1150 

18A247 

1065 

18A401 

392 

24A51 

488 

14A134 

920 

1  6  Point 

18A81 

933 

18A249 

672 

18A403 

575 

24A53 

511 

14A136 

484 

16A5 

862 

18A82 

1002 

18A251 

503 

18A405 

829 

24A54 

668 

14A138 

495 

16A7 

870 

18A83 

863 

18A253 

879 

18A407 

1170 

24A55 

232b 

1213 


LINOTYPE 

TRIANGLE    NUMBER 

INDEX,  continued 

PAGE 

PAGE 

PAGE 

PAGE 

PAGE 

PAGE 

24  Point,  cont'd 

24A215 

503 

24A400 

890 

30A127 

1080a 

30A346 

890 

36A153 

659 

24A56 

1153 

24A217 

879 

24A460 

891 

30A129 

137 

30A348 

891b 

36A157 

256 

24A57 

218a 

24A221 

879 

30A131 

26 

30A350 

1006 

36A159 

1064 

24A58 

1154 

24A223 

271 

26  Point 

30A135 

27 

30A400 

890 

36A161 

575 

24A59 

509 

24A225 

277 

30A137 

940 

30A460 

891 

36A163 

1170 

24A61 

936 

24A227 

430 

26A1 

879 

30A139 

41 

36A165 

1172 

24A64 

624a 

24A229 

433 

26A346 

890 

30A141 

872 

36A167 

1171 

24A66 

1151 

24A235 

440 

30A143 

42 

34  Point 

36A169 

590 

24A67 

948 

24A237 

443 

27  Point 

30A145 

1077 

34A1 

510 

36A338 

891b 

24A68 

1155 

24A241 

89 

27A1 

81 

30A147 

1077 

34A3 

509 

36A346 

890 

24A69 

845 

24A243 

1080 

30A149 

262b 

34A5 

846 

36A348 

891b 

24A70 

1156 

24A249 

867 

30A151 

241 

34A9 

880 

36A350 

1006 

24A71 

846 

24A251 

867 

28  Point 

30A153 

70 

34A11 

335 

36A400 

890 

24A72 

1158 

24A255 

748 

28A1 

510 

30A155 

289 

34A13 

330 

36A460 

891 

24A73 

64 

24A257 

96 

28A5 

30A157 

294 

34A15 

324d 

36A638 

942 

24A75 

240 

24A259 

741 

28A9 

871 
846 
863 

30A159 

674 

34A17 

829 

24A76 

1151 

24A261 

817 

28A11 

30A161 

272 

24A79 

728 

24A263 

818 

28A17 

30A163 

278 

42  Point 

24A84 
24A87 

1150 
936 

24A265 
24A267 

880 
628 

28A19 
28A21 

335 
330 

30A165 
30A167 

430 
433 

36  Point 

36A1 

509 

42A1 
42A5 

510 
846 

24A88 

1153 

24A269 

642 

28A23 

324d 

30A173 

440 

36A3 

510 

42A7 

513 

24A89 

1079 

24A271 

281 

28A25 

829 

30A175 

443 

36A5 

1076 

42A9 

262b 

24A90 

1152 

24A273 

91 

28A346 

890 

30A179 

262b 

36A9 

872 

42A11 

218b 

24A92 

1152 

24A275 

652 

30A181 

508 

36A13 

513 

42A13 

262b 
951 
261 
1076 

24A93 

937 

24A277 

668c 

30A183 

90 

36A15 

951 

42A15 

24A95 

262a 

24A279 

756 

30  Point 

30A185 

1080 

36A17 

65 

42A21 

24A99 

1065 

24A281 

636 

30A1 

509 

30A187 

233 

36A19 

846 

42A23 

24A101 

225 

24A283 

647a 

30  A3 

507 

30A193 

628 

36A23 

507 

42A25 

508 

24A107 

213 

24A285 

658 

30  A5 

1076 

30A195 

281 

36A29 

951 

42A27 

508 

24A113 

70 

24A287 

661a 

30A7 

260 

30A197 

642 

36A31 

1079 

42A29 

873 

24A115 

52 

24A289 

748 

30A9 

1080a 

30A201 

940 

36A33 

241 

42A35 

1080 

24A117 

244 

24A291 

91 

30A13 

938 

30A203 

652 

36A41 

943 

42A37 

748 

24A119 

186 

24A295 

334 

30A19 

1080a 

30A205 

652 

36A43 

226 

42A39 

512 

24A121 

80 

24A297 

189 

30A23 

948 

30A207 

757 

36A45 

260 

42A41 

512 

24A123 

251 

24A299 

329 

30A25 

218b 

30A209 

637 

36A47 

941 

42A43 

512 

24A125 

152 

24A301 

582 

30A27 

845 

30A211 

647b 

36A55 

214 

42A45 

874 

24A127 

136 

24A303 

600 

30A29 

65 

30A213 

659 

36A59 

500 

42A47 

330a 

24A131 

216 

24A305 

668c 

30A31 

940 

30A215 

661b 

36A61 

489 

42A49 

335a 

24A133 

324 

24A309 

512 

30A33 

513 

30A217 

748 

36A65 

82 

42A51 

281 

24A135 

8 

24A311 

512 

30A37 

513 

30A219 

189 

36A67 

864 

42A53 

513 

24  A 137 

201 

24A313 

512 

30A39 

949 

30A221 

748 

36A73 

252 

42A55 

829 

24A139 

499 

24A315 

661a 

30A41 

1079 

30A223 

583 

36A79 

34 

42A57 

1173 

24A141 

1064 

24A317 

647a 

30A43 

262b 

30A225 

601 

36A81 

138 

42A59 

324e 

24A143 

1079 

24A319 

636 

30A47 

940 

30A227 

668c 

36A83 

26 

42A61 

1173 

24A145 

879 

24A321 

937 

30A51 

514 

30A231 

512 

36A85 

1080a 

24A147 

87 

24A323 

946 

30A53 

1065 

30A233 

512 

36A87 

41 

24A153 

938 

24A325 

1080b 

30A55 

226 

30A235 

512 

36A89 

674 

48  Point 

48A1 

48A3 

48A9 

48A11 

48A13 

48A15 

48A17 

48A19 

48A21 

48A23 

48A687 

24A157 

1078 

24A327 

1080b 

30A57 

938 

30A237 

91 

36A91 

273 

24A159 

227 

24A328 

889a 

30A59 

489 

30A239 

661b 

36A93 

431 

510 

24A161 

91 

24A329 

575 

30A67 

186 

30A241 

647b 

36A97 

441 

509 

24A165 
24A167 

234 
54 

24A331 
24A333 

236 
609a 

30A69 
30A71 

81 
252 

30A243 
30A245 

637 
939 

36A99 
36A103 

1080 
628 

261 
944 

24A169 
24A171 

68 
791 

24A334 
24A335 

891 
161 

30A75 
30A79 

218a 
97 

30A247 
30A249 

1080b 
1080b 

36A105 
36A109 

642 
652 

757 
335a 

24A173 

255 

24A336 

889 

30A83 

1078 

30A251 

668c 

36A111 

652 

330a 

24A175 

179 

24A338 

891b 

30A85 

939 

30A253 

237 

36A113 

748 

335a 

24A177 

182 

24A339 

392 

30A87 

91 

30A255 

161 

36A115 

637 

490 

24A179 

33 

24A345 

575 

30A89 

214 

30A261 

393 

36A117 

647b 

575 

24A181 

35 

24A346 

890 

30A91 

217 

30A265 

575 

36A119 

659 

944 

24A183 

937 

24A348 

891b 

30A93 

500 

30A269 

1064 

36A121 

661b 

24A185 

25 

24A349 

589b 

30A95 

245 

30A271 

589b 

36A123 

98 

54  Point 

24A187 

513 

24A350 

1006 

30A97 

228 

30A273 

509 

36A125 

757 

24A189 

27 

24A351 

474 

30A101 

235 

30A275 

575 

36A127 

583 

54A1 

510 

24A191 

262c 

24A353 

324c 

30A103 

54 

30A277 

609b 

36A129 

601 

54  A3 

330b 

24A193 

40 

24A355 

575 

30A105 

68 

30A279 

996 

36A131 

512 

54A5 

335b 

24A195 

262b 

24A358 

888a 

30A107 

791 

30A281 

659 

36A133 

512 

24A197 

42 

24A359 

829 

30A109 

52 

30A285 

575 

36A135 

512 

24A199 

1077 

24A361 

949 

30A111 

256 

30A287 

1170 

36A137 

289 

60  Point 

24A201 

1077 

24A363 

1170 

30A113 

180 

30A289 

1172 

36A139 

294 

60A1 

510 

24A205 

652 

24A367 

1171 

30A115 

183 

30A291 

1171 

36A143 

187 

60A3 

252 

24A207 

288 

24A369 

575 

30A119 

34 

30A332 

888b 

36A145 

90 

60A5 

509 

24A209 

293 

24A371 

668a 

30A121 

35 

30A336 

889 

36A147 

160 

60A7 

330b 

24A211 

673 

24A375 

658 

30A123 

87 

1 

30A338 

891b 

36A149 

217 

60A9 

335b 

1214 


A-P-L  TRIANGLE  NUMBER  INDEX 


PAGE 

PAGE 

- 

PAGE 

PAGE 

PAGE 

PAGE 

1  8  Point 

30A1033 

668c 

42A1007 

88 

48A1024 

69 

60A1053 

476 

96A1003 

84 

18A1007 

88 

30A1034 

668c 

42A1008 

181 

48A1025 

99 

60A1054 

395 

96A1004 

637b 

18A1016 

144 

30A1035 

668c 

42A1009 

184 

48A1026 

101 

60A1055 

402 

96A1005 

647d 

18A1024 

69 

30A1041 

849 

42A1010 

242 

48A1027 

463 

60A1056 

610 

96A1010 

243 

18A1028 

466 

30A1044 

849 

42A1011 

246 

48A1028 

471 

60A1064 

482 

96A1012 

254 

18A1031 

749 

30A1045 

850 

42A1012 

253 

48A1030 

759 

60A1065 

479 

96A1023 

661 

18A1033 

668c 

30A1046 

851 

42A1013 

257 

48A1031 

752 

60A1069 

668c 

96A1025 

100 

18A1034 

668c 

30A1047 

850 

42A1014 

188 

48A1033 

668c 

60A1070 

668c 

96A1029 

337 

18A1035 

668c 

30A1053 

475 

42A1015 

139 

48A1034 

668c 

60A1071 

668c 

96A1032 

1175 

18A1041 

849 

30A1055 

400 

42A1016 

148 

48A1035 

668c 

60A1072 

591 

96A1033 

668c 

18A1044 

849 

30A1057 

854 

42A1017 

290 

48A1037 

583a 

96A1034 

668c 

18A1045 

850 

30A1058 

853 

42A1018 

295 

48A1038 

602 

72  Point 

96A1035 

668c 

18A1046 

851 

30A1059 

852 

42A1019 

274 

48A1040 

491 

72A1001 

746 

96A1037 

583b 

18A1047 

850 

30A1060 

853 

42A1020 

279 

48A1041 

849 

72A1002 

661c 

96A1038 

603 

18A1055 

399 

30A1062 

851 

42A1021 

215 

48A1045 

850 

72A1003 

83 

96A1039 

332 

18A1057 

854 

30A1064 

481 

42A1022 

218 

48A1046 

851 

72A1004 

637a 

96A1040 

492 

18A1058 

853 

30A1065 

478 

42A1023 

660 

48A1047 

850 

72A1005 

647c 

96A1049 

262 

18A1059 

852 

30A1066 

382 

42A1024 

69 

48A1053 

475 

72A1006 

66 

96A1053 

477 

18A1060 

853 

30A1068 

1175 

42A1025 

99 

48A1054 

395 

72A1007 

88 

96A1054 

397 

18A1061 

848 

30A1069 

668c 

42A1026 

101 

48A1055 

401 

72A1008 

181 

96A1056 

611 

18A1062 

851 

30A1070 

668c 

42A1027 

462 

48A1056 

610 

72A1009 

184 

96A1063 

480 

18A1064 

481 

30A1071 

668c 

42A1028 

470 

48A1057 

854 

72A1010 

242 

96A1064 

483 

18A1065 

478 

30A1074 

854 

42A1030 

758 

48A1058 

853 

72A1012 

253 

96A1076 

1174 

18A1066 

382 

30A1075 

852 

42A1031 

751 

48A1060 

853 

72A1014 

188 

96A1077 

1174 

18A1069 

668c 

42A1033 

668c 

48A1064 

482 

72A1015 

142 

18A1070 

668c 

36  Point 

42A1034 

668c 

48A1065 

479 

72A1016 

150 

1  20  Point 

18A1071 

668c 

36A1001 

742 

42A1035 

668c 

48A1069 

668c 

72A1017 

292 

120A1001 

747 

18A1074 

854 

36A1007 

88 

42A1037 

583a 

48A1070 

668c 

72A1019 

276 

120A1002 

661d 

18A1075 

852 

36A1008 

181 

42A1038 

602 

48A1071 

668c 

72A1021 

215 

120A1003 

84 

36A1009 

184 

42A1040 

491 

48A1072 

591 

72A1023 

660 

120A1004 

637b 

24  Point 

36A1011 

246 

42A1041 

849 

48A1073 

591 

72A1024 

1176 

120A1005 

647d 

36A1013 

257 

42A1044 

849 

48A1074 

854 

72A1025 

99 

120A1010 

243 

24A1007 

88 

36A1016 

147 

42A1045 

850 

72A1027 

465 

120A1012 

254 

24A1016 
24A1024 
24A1026 
24A1027 
24A1028 
24A1031 
24A1033 

145 
69 

36A1020 
36A1022 

279 
218 

42A1046 
42A1047 

851 
850 

54  Point 

54A1029 
54A1037 
54A1038 
54A1039 

72A1029 
72A1030 

336 
761 

120A1023 
120A1025 

661 
100 

101 
459 

36A1024 
36A1026 

69 
101 

42A1053 
42A1054 

475 
394 

336 
583a 
602 
331 

72A1032 
72A1033 

1175 
668c 

120A1029 
120A1032 

338 
1175 

467 
749 

36A1027 
36A1028 

461 
469 

42A1055 
42A1056 

401 
610 

72A1034 
72A1035 

668c 
668c 

120A1033 
120A1034 

668c 
668c 

668c 

36A1031 

750 

42A1057 

854 

72A1037 

583a 

120A1035 

668c 

24A1034 
24A1035 
24A1041 

J*!  /I      A      1    /N    /I    /I 

668c 

36A1033 

668c 

42A1059 

852 

60  Point 

72A1038 

602 

120A1037 

583b 

668c 

36A1034 

668c 

42A1060 

853 

60A1001 

745 

72A1039 

331 

120A1038 

603 

849 

36A1035 

668c 

42A1061 

848 

60A1002 

661c 

72A1040 

492 

120A1039 

333 

24A1044 

'^  /I   A  T  rt  /I  r" 

849 

36A1041 

849 

42A1062 

851 

60A1003 

83 

72A1050 

493 

120A1040 

492 

24A1045 
24A1046 

'%  /I    A    -\  f\  n—r 

850 

36A1044 

849 

42  A 1064 

481 

60A1004 

637a 

72A1053 

476 

120A1049 

262 

851 

36A1045 

850 

42A1065 

479 

60A1005 

647c 

72A1054 

396 

120A1053 

477 

24A1047 
24A1055 

O  /I      A     "^    f\C~t 

850 

36A1046 

851 

42A1066 

383 

60A1006 

66 

72A1055 

402 

120A1054 

397 

399 

36A1047 

850 

42A1074 

854 

60A1007 

88 

72A1056 

610 

120A1056 

611 

24A1057 
24A1058 
24A1059 
24A1060 

o /I  A  -\  r\/  ^^ 

854 

36A1053 

475 

42A1075 

852 

60A1008 

181 

72A1064 

482 

120A1064 

483 

853 

36A1054 

394 

60A1009 

184 

72A1072 

591 

120A1076 

1174 

852 

36A1055 

400 

48  Point 

60A1010 

242 

120A1077 

1174 

853 

36A1056 

610 

48A1001 

744 

60A1012 

253 

84  Point 

24A1061 

"^  /I   A   T  r*  /  '^ 

848 

36A1057 

854 

48A1002 

661c 

60A1014 

188 

84A1002 

661d 

1 44  Point 

24A1062 
24A1064 
24A1065 
24A1066 
24A1068 
24A1069 
24A1070 
24A1071 
24A1073 
24A1074 
24A1075 

851 

36A1058 

853 

48A1003 

83 

60A1015 

141 

84A1003 

84 

144A1002 

661d 

481 

36A1059 

852 

48A1004 

637a 

60A1016 

1176 

84A1004 

637b 

144A1003 

84 

478 

36A1060 

853 

48A1005 

647c 

60A1017 

291 

84A1005 

647d 

144A1004 

637b 

382 

36A1061 

848 

48A1006 

66 

60A1018 

1176 

84A1015 

142 

144A1005 

647d 

1175 

36A1064 

481 

48A1007 

88 

60A1019 

275 

84A1023 

661 

144A1023 

661 

668c 

36A1065 

478 

48A1008 

181 

60A1021 

215 

84A1025 

100 

144A1025 

100 

668c 

36A1066 

383 

48A1009 

184 

60A1023 

660 

84A1029 

337 

144A1029 

338 

668c 

36A1069 

668c 

48A1010 

242 

60A1024 

1176 

84A1033 

668c 

144A1033 

668c 

591 

36A1070 

668c 

48A1011 

246 

60A1025 

99 

84A1034 

668c 

144A1034 

668c 

854 

36A1071 

668c 

48A1012 

253 

60A1026 

1176 

84A1035 

668c 

144A1035 

668c 

852 

36A1073 

591 

48A1013 

257 

60A1027 

464 

84A1037 

583b 

144A1037 

583b 

36A1074 

854 

48A1014 

188 

60A1029 

336 

84A1038 

603 

144A1038 

603 

30  Point 

36A1075 

852 

48A1015 

140 

60A1030 

760 

84A1039 

332 

144A1039 

333 

30A1001 

742 

48A1016 

149 

60A1033 

668c 

84A1049 

262 

144A1040 

493 

30A1007 

88 

42  Point 

48A1017 

290 

60A1034 

668c 

84A1053 

476 

144A1053 

477 

30A1016 

146 

42A1001 

743 

48A1018 

296 

60A1035 

668c 

84A1054 

396 

144A1054 

398 

30A1024 

69 

42A1002 

661c 

48A1019 

274 

60A1037 

583a 

84A1064 

482 

144A1056 

611 

30A1026 

101 

42A1003 

83 

48A1020 

280 

60A1038 

602 

144A1063 

480 

30A1027 

460 

42A1004 

637a 

48A1021 

215 

60A1039 

331 

96  Point 

144A1064 

483 

30A1028 

468 

42A1005 

647c 

48A1022 

218 

60A1040 

491 

96A1001 

747 

144A1076 

1174 

30A1031 

750 

42A1006 

66 

48A1023 

660 

1 

60A1046 

851 

96A1002 

661d 

144A1077 

1174 

1215 


r 


-^ji^ 


i:'r,'Ar?mmmm
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Full text of "Specimen book linotype faces."

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